- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 83: MATHEMATICSwith Fiona Hile (submit away!) 82: LANDwith James Stuart and Jane Gibian(coming soon!) 81: NEW CARIBBEANwith Vladimir Lucien 80: NO THEME VIwith Judith Beveridge 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
- Review Short: Susan Fealy’s Flute of Milk
- Review Short: Brook Emery’s Have Been and Are
- NEW CARIBBEAN Editorial
- Deconstructing Decolonisation: Victor Questel’s Collected Poems
- She’ll Chew You Up: Notes on Safiya Sinclair’s Cannibal and Tiphanie Yanique’s Wife
- Selections from ‘The Face: a feeling’: 8 Portraits by Kwesi Abbensetts
- Delicious Pick
- How to Exhale
- Tony’s Taxi Service
- After Olive Senior, ‘Flying’
- Messages to Bush Children – Building
- Stormy Night
- Beyond the River Road
- Crystal Chandeliers
- Exorcism / Freeport
- College Degree in Tourism and Service
- Under the Tamarind
- Norene’s Laugh
- “We the Dirt”
- Finishing Your Work
- The Day He Got It
- Poem for a Gunman
- Mama River
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.
In mid-August I was in Adelaide to read poetry with Kent MacCarter and others as a guest of Ken Bolton’s ‘Lee Marvin Readings’ series at the Australian Experimental Art Foundation. Over a couple of days, Kent, Ken and I had some expansive conversations including one about how much we loved various works by Michel Butor, the great French experimental writer. Just over a week later we heard the sad news that Michel Butor had died on 24 August, 2016 at the age of 89.
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.
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.
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. …
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. …
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 …
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.
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.
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.
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 …
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 …