- 94: EARTHSUBMIT to M Takolander 93: PEACHCOMING SOONwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRO AUSTRALIANwith S Umar 89: DOMESTICwith N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 87: DIFFICULTwith O Schwartz & H Isemonger 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D 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 P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
I like the way a backyard door opens ‘parting sooty / veils of flies,’ in the first poem of Selina Tusitala Marsh’s Tightrope. Outside are Max V, Lima and Ono (‘knotted fur, nettling bones / fat eyes, fat hunger’).
I am reminded of Doris Salcedo’s Shibboleth. For the work Salcedo broke a hairline crack into the floor of the Tate Gallery’s Turbine Hall. Running the sheer length of the hall, the crack broadened out to a crevasse of some feet. You walked alongside and gaped in. The floor was later repaired the cracks remain.
I interviewed him in July 2013, in Petaluma, California, as part of the Australian Research Council project ‘Understanding Creative Excellence: A Case Study in Poetry’. The interview was revisited and revised by us both in May 2014.
Unlike the recent Australian governmental fervour for signs of title (British, monarchist, hierarchical) and their accompanying anathemas contra entitlement (Australian, social democratic, welfarist), poetry titles struggle with self-authorization and singularisation.
I was out drunk with friends one night in Perth, Western Australia. My father had just died. We were walking home, so to speak, and our path took us past the Church of Christ. At that, I launched myself at the wall of the church, found a toehold and lunged up into the air. I grasped the ‘t’ decal and with all my weight managed to prise it from the wall. The Church of Chris looked down upon us all. I continued on my way home, or rather to here, but not without the occasional somewhat gratified memory of the incident. I cannot help thinking of the sudden appearance of the Church of Chris as a sort of revelation, with something to say about the truth of something. That is what reading Finnegans Wake is like.
Cordite Scholarly is a new section of Cordite Poetry Review devoted to peer-reviewed research on Australian and international poetry and poetics. Essays published in Cordite Scholarly are reviewed by at least two members of Cordite’s Academic Advisory Board (or see …
Paul Magee is a poet, essayist and logician. His first book, From Here to Tierra del Fuego, a work of surrealist anthropology, was published in 2000. As well as poetry and short stories, he has also published on Filipino liberation theology, the poetry of Octavio Paz, Marxist theory and psychoanalytic logic.