- FREE: 20 Poets anthology
- 87: UNPRINTABLEwith J R Carpenter and B Laird (coming soon!) 86: NO THEME VIIwith Lisa Gorton(submit away!) 85: PHILIPPINESwith Mookie L and S Lua(coming soon!) 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith Fiona Hile 82: LANDwith J Stuart and J Gibian 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 F Wright and O 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 M Hall and S Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with L Armand and H 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 J Rowe and M 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
- Alan Wearne Reviews Ross Gibson
- Introduction to Helen Lambert’s Echoland
- Introduction to Siobhan Hodge’s Justice for Romeo
- Introduction to Lindsay Tuggle’s Calenture
- Introduction to Pascalle Burton’s About the Author Is Dead
- SUBURBIA Editorial
- Ghost Flowers in the Word Machine: Poetry, Pessimism and Translation in the Age of Technology
- ‘a homemade world’: On the Dandenong Line
- Ken Bolton’s Suburbia, an Introduction
- No Safety, No Submission? A Survey of New Zealand Small Presses
- Wright Vociferous – ‘Birds’ and ‘Skins’ – Physiognomy, Identity and the Wild Spoken Word
- But Why Am I Telling You this? You Are Not Even Here: Against Defining the Suburb
- 12 Works by Lara Chamas
- 4 Machines by Robert Andrew
- Five Translated Eileen Chong Poems
- Two Translated Kim Yideum Poems
- Four Translated Geng Xiang Poems
- ‘Refusing to be published, refusing even to perish’: Amelia Dale Interviews Ouyang Yu
- ‘Myth is not merely decorative’: Prithvi Varatharajan Interviews Michelle Cahill
- Sandra D’Urso Interviews Fiona Hile
- ten atmospheres
- The Lowlands (West Melbourne Swamp)
- Stony Creek
- Moonee Moonee Chain of Ponds
- Walking West
- The Orbweaver’s Newer Volcanics
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.
Winter’s pharmacopeia t He fruits and weedful plants that swell through frost and sl Eet and occasional snow who lovingly b Are themselves to us at Local when we require them most when i T is cold and we fall …
we have spent money cleaning it and having it worthy of the road. we’re a little tense as it’s raining and one of us, eight years old, is not so aware or interested in the effects of mud on upholstery. …
While writing this work I have been eating wild foods, vegetables from my garden and a small amount of transported agricultural product. I am in transition, along with my family and some community friends, to relocalise food and energy resources and address the degree to which our participation in a hyper-mediated society degrades the ecologies that support us.
Boult Upright Malley (or BUMalley), was born in 1970 at the Royal North Shore Hospice for Literary Fakes, Sydney, and, after an aspirinational education and ear-marked for success, sat down and eventually abandoned hope in rural Victoria.
When a poet works with a designer, publisher, artist, typesetter, printmaker, stone mason (in Finlay's case), earthmover, or sign writer there is the potential for the poem to materialise (a shift from transformation), and keep us on our feet.
Despite my slightly over-the-top and easily pregnable assertions about what are to my mind the lesser works enclosed therein, it became clear to me as I read (looked?) that Words and Things had a significant contribution to make to our understanding of contemporary poetics. Foremost among these is the question of what constitutes a concrete poem and, more generally, what constitutes visual poetry.
James Stuart reviews Words and Things (Patrick Jones, ed.) in our Submerged issue. The review is part of a larger article commissioned by Cordite, available here in PDF format.