Pam Brown



Christopher Brown Reviews Pam Brown and Nicholas Powell

The last poem of Pam Brown’s Stasis Shuffle, ‘(fundamentals)’ begins with the lines: “make a distinction / between imagery / & reality” (103). As much as the distinction in question evokes the verisimilitude of the fake, a need to separate unreliable image from truth, Stasis Shuffle’s interest in reality and authenticity goes deeper.

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Pulp to reform

this is my first interview since my death (predictable suspense) i swallowed a cotton bud i had only just recovered from the teardrop curse by then it had become popular to pulp to reform everyone’s dad shredded their rhetorical filler …

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Pam Brown Reviews Angela Rockel’s Rogue Intensities

It’s January. As I begin to write this review it’s over 40 degrees celsius outside our small non-air-conditioned house in inner suburban Sydney. I’m indoors, perspiring lightly, with a desk fan on, windows closed, blinds drawn, listening to wails of gusts of hot wind.

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Pam Brown Reviews Kait Fenwick

In case you haven’t noticed, there’s a surge in material on gender and sexuality being produced by a profusion of switched-on contemporary thinkers. In Australia, Puncher & Wattmann published the anthology Out of the Box – Contemporary Gay & Lesbian Poets almost a decade ago.

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Liam Ferney Reviews Kate Lilley and Pam Brown

In 1915, H G Wells published Boon, a satirical novel that featured long passages pastiching the literary style of his erstwhile friend, Henry James. It kicked off an epistolary barney over what art should be about.

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random index of useless titles

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Owen Bullock Reviews A Transpacific Poetics

Lisa Samuels’s introductory essay, ‘What Do We Mean When We Say Transpacific’, begins with a quotation from Pam Brown that is particularly well-chosen for this volume. Brown claims that the ‘authentic’ pertains to someone who isn’t manipulated or being alienated from their context. There’s a good deal in this book about alienation relating to identity and culture; many of the authors have had to fight to preserve authenticity.

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Is Contemporary Australian Poetry Contemporary Australian Poetry?

Poet, if you’re looking for your name in this essay, jump ahead a couple of pages. There I begin talking about poets collected in this anthology. Those of you interested in a review about contemporary Australian poetry, let’s begin here.

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Courrier des Antipodes – Notes on Michel Butor’s Letters from the Antipodes

Just over a week later we heard the sad news that Michel Butor had died on 24 August, 2016 at the age of 89.

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Review Short: Poems of Hiromi Itō, Toshiko Hirata & Takako Arai

In the winter of Pokémon Go, I read quite a few new books of poetry. The collection Poems of Hiromi Itō, Toshiko Hirata & Takako Arai was the most cogent. These three Japanese poets are taboo-breaking women who write without reservation about ‘female experience’ in the political context of contemporary transnational capitalism.

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Bonny Cassidy Reviews Contemporary Australian Literature: A World Not Yet Dead

As Feature Reviews Editor and sometime reviewer for Cordite Poetry Review it is an unusual (and therefore fun) privilege to consider a title in which poetry is critically addressed in the company of other forms. Too often it is it either quarantined within poetry-only criticism, or mentioned as an embarrassing aside to discussions of prose.

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THE END Editorial

I think I was thinking of a big concept like ‘The End Times’ when I made up a theme for poems for this issue of Cordite Poetry Review. There is general consensus that the times we’re living in are endtimes.

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Submission to Cordite 53: THE END Open!

Poetry for Cordite 53: THE END is guest-edited by Pam Brown. Read Corey Wakeling’s interview of Pam from 2012. Let me start at the very end, the dead end, the living end, at wit’s end, the end of the line. …

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Cordite Book Launch: Loney, Gibson, Hawke, Harkin

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 …

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Dan Disney Reviews the deciBels Series

These ten tiny tomes each speak (squawk, swoon, glitch, muse, lyricise, confess) of how there is something not ticking precisely inside the reality machine. Or perhaps these books shine light onto how we’ve all gone slightly spectral within our anthropocenic phantasmagorias, lost and unmoored in an experiment that’s become dreadfully strange. Some of these books turn exclusively toward the world, others perhaps come from particular critical engagements; each serves to extend conversation both on what poets do, and what poems are for.

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Introduction to Ross Gibson’s Stone Grown Cold


Cover design by Zoë Sadokierski

The works that Ross Gibson has written and edited over the past thirty years could be classed as political aesthetics. In books like Seven Versions of an Australian Badland, chronicling the wretched historical miscreants of Queensland’s Brigalow country, or 26 Views of the Starburst World: William Dawes at Sydney Cove 1788–1791, speculatively tracing English astronomer William Dawes’s scientific work and his relationship with the Indigenous Eora people of Sydney Harbour in a few late years of the eighteenth century, Ross Gibson’s method is procedural. Seven Versions and 26 Views form a compositional design that he has described as ‘fractal’, allowing unfixed multiple views and patterns. The author’s practice of creative fragmentation, applied to the poems and short prose pieces in this new collection, eschews linearity and dull chronology.

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Fiona Hile Reviews Lionel Fogarty

Lionel G. Fogarty is an indigenous Australian poet who is recognised for the excavation of a poetic space in which, as Michael Brennan has written, ‘his community and culture is recuperated and asserted’ whilst ‘dominant discourses, both political and poetic’ are subverted and destabilised. These qualities make Fogarty’s work difficult to review in a context in which the status of indigenous literature remains, for some institutions at least, seemingly unapproachable.

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Blank lyric

What does the street know? both of its centuries have disappeared this was a manufacturing warehouse now a fitness gym a cafe an imported fancy european bike outlet this was a corner shop the police never come here to this …

Posted in 66: OBSOLETE | Tagged

Riposte

Coming back to their neck of the woods, a shout was as good as a wolf and a basket
 as full as a boot full of tarnished medallions
 and useless keys, pugnacious as costume
 on a moonlit patio, swilling prosecco
 …

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Review Short: Beyond the Ohlala Mountains: Alan Brunton, Poems 1968-2002

The mask on the cover of ‘Beyond the Ohlala Mountains’ suggests that there’ll be some odd theatrics inside the book. It’s a plain papier-mâché mask of a slightly jowly head with a bulbous nose and a pair of puckered, pouting, full red lips. What does it express – is it a superior sneer? Is it bourgeois disdain? Is it about to say ‘oh là là’? The mask was made by Sally Rodwell, the now-deceased partner of the New Zealand poet collected here, Alan Brunton. It was made for a theatre work called Cabaret of the Unlikely that was performed three years after Brunton had died at 55, in 2002.

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Justin Clemens Reviews Pam Brown

What does it mean to be ‘Home by Dark’? Is it a parental instruction to a potentially wayward child? Is it an expression of relief after a day of threat and uncertainty? Is it a navigational expression, a crepuscular refiguration of ‘North by North-West’? Is it a simple description of an accomplished movement, or another possibility altogether? To open this book is not to find such questions answered; it is rather to move and be moved with and by somebody who, as the epigraph from Kevin Davies has it, is prepared to ‘just keep staring into that English-language night sky.’

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Justin Clemens Reviews Pam Brown and Ken Bolton

If there is one true love in the history of Australian verse, it’s perhaps the love of Pam Brown and Ken Bolton. As you should expect, it’s not a normal kind of love at all – or maybe it’s the only normal love, depending on how you’re predisposed to taking the word or the thing (‘normal,’ I mean), and depending whether you think you can tell the difference between the two (‘word’ and ‘thing,’ I mean).

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Two Poems For ‘M’

close to mononia espinacas con garbanzos, a rich pepper. orders have been scrawled in chalk to form a form, yes, it is El Rinconcillo, the oldest tapas dishes, and 30.03 kilometres from Mononia, plates designed to be shared. so I …

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Wandering through the Universal Archive

One of the sequences produced by the collaborative entity, A Constructed World, renders the phrases ‘No need to be great’ and ‘Stay in Groups’ in a range of media – silk-stitch, screen print, photography and painting. One of the painted versions of the image shows a naked woman covered in yellow post-it notes overseen by a hulking, shadowy male. These figures represent the artists Jacqueline Riva and Geoff Lowe. The image appears again in the form of a photograph and the installation was staged in various places around the world – as if the only way to get the message across would be to subject it to constant repetition in as many different formats as possible. Indeed, a number of the collective’s performances and installations attest to the impossibility of communication – even as these take the form of images that can’t fail to deliver. Avant Spectacle A Micro Medicine Show, 2011, features skeleton-costumed performers inexpertly singing and playing instruments while six knee-high wooden letters – S, P, E, E, C and H – burn like small condemned buildings at front of stage.

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