- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 81: LANDwith James Stuart and Jane Gibian (submit away!) 80: NO THEME VIwith Judith Beveridge (closed) 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith Keri Glastonbury 56: EXPLODE with Dan Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with Fiona Wright and Omar Sakr 53.0: THE END with Pam Brown 52.0: TOIL with Carol Jenkins 51.1: UMAMI with Luke Davies and Lifted Brow 51.0: TRANSTASMAN with Bonny Cassidy 50.0: NO THEME IV with John Tranter 49.1: A BRITISH / IRISH with Matthew Hall and Sophie Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with Kent MacCarter and Shane Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with Louis Armand and Helen Lambert 46.1: MELBOURNE with Michael Farrell 46.0: NO THEME III with Felicity Plunkett 45.0: SILENCE with Jan Owen 44.0: GONDWANALAND with Derek Motion 43.1: PUMPKIN with Kent MacCarter 43.0: MASQUE with Ann Vickery 42.0: NO THEME II with Gig Ryan 41.1: RATBAGGERY with Duncan Hose 41.0: TRANSPACIFIC with Josephine Rowe and Michael Nardone 40.1: INDONESIA with Kent MacCarter 40.0: INTERLOCUTOR with Libby Hart 39.1: GIBBERBIRD with Sarah Gory 39.0: JACKPOT! with Sam Wagan Watson 38.0: SYDNEY with Astrid Lorange 37.1: NEBRASKA with Sean Whalen 37.0: NO THEME! with Alan Wearne 36.0: ELECTRONICA with Jill Jones
- Paul Munden Reviews The Best Australian Poems 2016
- Liam Ferney Reviews Cassie Lewis
- Alice Allan Reviews Watching the World: Impressions of Canberra
- Introduction to Tanya Thaweeskulchai’s A Salivating Monstrous Plant
- Michael Aiken Reviews Dave Drayton
- Owen Bullock Reviews Alan Loney
- Review Short: Holly Isemonger’s Deluxe Paperweight and Jessica Cham’s premium pastoral poetry
- Review Short: Anthony Lawrence’s Headwaters
- EKPHRASTIC Editorial: Poetry that Sees
- J S Harry’s ‘tunnel vision’, Vicious Sydney and The Car Story
- Ekphrasis as ‘Event’: Poets Paint Words and the ‘Performance’ of Ekphrasis in Australia
- ‘Often Said Apologetically’: Merryn Sommerville’s Child of the High Seas
- Tunnel Vision
- Interview with Sidney Nolan (Ella O’Keefe edit)
- Is Contemporary Australian Poetry Contemporary Australian Poetry?
- An Extra Oyster for the Doctors
- John Woodcock Graves the younger [with] Truganini
- APOLLON MUSAGÈTE
- after infatuation—ross bleckner—oil on linen
- Gouache, Sheep Skulls, Fence Bracket
- Anatomy for the Blind
- The Pioneer
- Interior with Figures
- Miro’s Eyes
- Autumnal Cannibalism
Or this – I have an autistic child, and when she repeats the whole Catholic Mass at lunch the medical team call it echo- lalia. Dock their lunch says Bruce, say hello to reverse red tape prejudice The trees won’t …
Influenced and shaped by some fifty years of Indigenous poetry in English, the last couple of decades of Australian settler poetry have advanced prolific attempts to ‘write (oneself) into the country’ (Van Teeseling 209): producing varied and sometimes radical poetries of regionality, topography, climate, and the histories, narratives and landmarks running through and over them. I contend that such contemporary work by settler poets presents a continuum – varyingly compelling attempts to write in the presence not only of Indigenous poetry, but also colonisation’s ongoing effects and of un-ceded Indigenous sovereignty.
Poems don’t need condescension any more than we do. If we pick up a book and the poems come to life only at a certain page, maybe it’s our brain that needed a refresh. Philip Hammial is certainly up for a refresh of everyday culture: of foodie-ness, for one, such as in the high school project scene of ‘The Float’, where food is garbage and his art teacher gives him an A; or the vegetables of death in ‘The Vehicle of Precious Little’. There are enough stories in his poetry – represented here through a selection from twenty-five collections – to replace a whole bookshelf of novels.
A solid phrase can be hard to grasp. I can say it and mean it here but not there, where Daisy Bates is a conduit. Places where Peter Allen irons the Dadaist blue skies, with the Nolans and a few …
Publishing a selected poems is an act of confidence. While no one who writes poems would want to be judged on their worst effort, a selection suggests these are the poems that – if readers must judge – the poet be judged upon. The act is, however, doubly denied by Caldwell in the qualified title, Reflections of a Temporary Self, and by the front cover author photo: is he asleep or isn’t he? The I-don’t-necessarily-give-a-fuck attitude is part of the package. I qualify the attitude because Caldwell, in producing an eighth book (consisting of poems from six previous books and new poems), clearly does give one.
In his essay on Charles Olson, ‘Open Field Poetics and the Politics of Movement’, David Herd bridges the geopolitical gulf between Hannah Arendt’s conception of ‘statelessness’ and Giorgio Agamben’s ongoing inquiry into the state of exception, biopolitics and nationhood. Herd contends that:
… [f]or complex and evolving reasons, the modern political state has become, by the early part of the Twentieth Century, synonymous with the idea of nation. The consequence of this was that citizenship came to be identified with national affiliation. Simply put, to fall outside of one national jurisdiction was to fall outside of all jurisdictions.
get your chewing Gum. get Time like a Man in a tin Frock. in the Field, the naked Butterfly is fending off the Microscope. a giant Sunflower is roaring Seeds at the Enemy. it’s Autumn, and the carrot Pickers bend …
Winner: ‘Precedent‘ by Andrew Last That rare thing: a non-ponderous sonnet sequence full of surprising imagery, humour and light touches. The poet is obviously at home with the form, the way they vary stanzas and run meaning from one sonnet …
Face that way and walk out of the building. Face that way and walk out of the room. Keep it comic or dramatic – just not tragic. Separation of drone and you. Separation of drone and you No revisiting past …
Collected Works Bookstore, Wednesday 6 May, 2015 I will begin with a bit of spontaneous resentful metaphysics. I am sorry to do so, for a number of reasons, but there we are. If it can be justified at all, it …
He walks in rubbish like the street. Having risen from The waters like a painter and left his work for the less Nice people to observe. The sea would be punk but’s Too major You Embrace Apollinaire Like a Problem …