- 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
We follow high grass and dipping fields where a horizon is painted lead white and dark strokes lather the ocean. You speak of memory, but it doesn’t hold. Granite and limestone patch the landscape like obduracy and words are grabbed …
What is it about Canberra that invites so many definitions? Comparing where we live with where we don’t is an Australian fixation, but there’s a specific energy to the way that people with a connection to Canberra go about this – they will start deriding or defending the place minutes after you’re introduced.
Ekphrasis In ancient Greece ekphrasis was understood more broadly than in the contemporary world, indicating a complex genealogy for this term that encompasses so much fine poetry as well as many other forms of writing. For the ancients, the best …
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 those rooms we thought we knew the way things were. An ordered disposition of light through shutters, bright spills on the floor. A painting framed like a question across a wall. You pointed to it, saying “it’s made of cut-up canvas”. Twenty fragments …
Artistically, burnt umber is an earthy shade intensified by heat. It is a colour synonymous with this country – familiar to anyone who has trekked through Western Australia, from where Paul Hetherington originally hails. In this collection, it is also a metaphor for memory, which, through the heat of feelings in the present, attains an intensity that overwhelms the original events.
Poetry for Cordite 56.1: EKPHRASTIC is guest-edited by Paul Hetherington and Cassandra Atherton. NOTE: due to the nature of what we’re seeking, we’re going to be accepting submissions to this special issue for a considerable amount of time; submissions close …
Rilke’s poetry is known for its brilliance and individuality and, to an extent, for its variability. His early work is largely of a neo-Romantic and religious temper, suffused with generalisations and subjective gestures that frequently strain after significance. Nevertheless, he produced some important early poetry, most notably in his three-volume Book of Hours. In these works, ways of seeing, perceiving and understanding the world are already critical questions for him. However, had these poems been all he left to posterity, he would not now be a household name.
A towel and bathing cap remained, and a tattered copy of a novel: The Red Room. They belonged to 13-year-old Lena, his Swiss pen pal, who stayed for five weeks during a ferocious summer. Nearly every day his parents took …
John Kinsella is an Australian poet with a high profile and a long record of achievement, including winning the 2013 Prime Minister’s Literary Award for Poetry. He is also an assiduous anthologiser. Most notably, he edited The Penguin Anthology of Australian Poetry (2008), one of the more successful of recent attempts to establish an indicative canon of Australian poetry (although this was not, perhaps, Kinsella’s avowed intention with that book).