- FREE: 20 Poets anthology
- 93: PEACHSUBMIT to L Van, G Mouratidis, L Toong 92: NO THEME VIIICOMING SOON with 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
- Brigid Magner Reviews Michele Leggott’s Vanishing Points and Elizabeth Smither’s Night Horse
- Jack Kelly Reviews Liam Ferney’s Hot Take
- Submission to Cordite 93: PEACH
- Introduction to Cordite 91: MONSTER
- Poetry, Whatsoever: Blake, Blau DuPlessis, and an Expansive Definition of the Poem
- On Being Sanguine: Two Years of Panic and a Response to Terror in Christchurch
- A Deaf Rough Trade: Defending Poetry to ‘regular people’
- 12 Panels by Chris Gooch
- 5 Translated Yosuke Tanaka Poems
- A Buzz in the Retina: On Translating Luljeta Lleshanaku
- ‘That is some crafty bite’: Trisha Pender Interviews Melinda Bufton
- ‘You’re never disembodied from the action’: Dylan Frusher Interviews Judith Beveridge
- Excerpts from Neon Daze
- Chorography and Toute-eau in the Waters of Lower Murray Country
- 6 Poems from Robin M Eames
- Aussi / Or: Un Coup de dés and Mistranslation in the Antipodes
- Every other Friday
- I Still Love Without My Head
- Heath Ledger’s Joker
- Only fair
- small town lazarus
- from Red Black & Blues
- Logical Fallacies of Alien
- A Lotus of Lawyers
In 2017, Vagabond Press launched its Americas Poetry Series. This is a brave and much needed venture, one that borders on the quixotic: an Australian editor offering publications from poets from the Americas to the Australian reading public, for the love of poetry and the art of translation. So far, the series has three excellent entries focused on the translation of Spanish language Latin American poets into English.
Image courtesy of Festival de Poesía El Salvador PIGS ‘I have seen friends Circe turned into pigs. Her wheel, her diamond. The pigs don’t know my hideouts, mercenaries of shadows.’ –Edilberto Cardona Bulnes I have beheaded pigs, but Circe insists …
This second volume in the series, Poems of Mijail Lamas, Mario Bojórquez & Alí Calderón, focuses on contemporary Mexican poetry. It is translated by Sydney-based, Mexican-born Mario Licón Cabrera, a seasoned poet and translator. Licón Cabrera translates into both English and Spanish.
Peter Boyle’s Ghostspeaking belongs to a relatively rare poetic tradition, in which the poet creates heteronyms through which he or she writes. Indeed, the cover blurb of Ghostspeaking announces that the book contains ‘eleven fictive poets from Latin America, France and Québec. Their poems, interviews, biographies and letters weave images of diverse lives and poetics.’ As opposed to the pseudonym, which is merely a false name that allows the poet anonymity, the heteronym entails the creation of an entire life: not only distinctive poetic works, but also a biography for the poet that embeds them in real history.
When you get there. At the frontier. It is very dangerous. Invisible precipices. Water sharp as knives. There are children playing between rocks. Many guns scan the bodies of the children. Suitcases tear open. A play of hands taking out …
Cartomancy The dogs that sniff out the lineage of ghosts, listen to them barking, listen to them tear apart the drawing of the omen. Listen. Someone approaches: the floorboards are creaking under your feet as if you will never stop …
What a strange species is the species angel. When I was born I heard them say “Angel”, “Angels”, or other names. “Spikenard”, “Iris”. Foam that grows on branches, the most delicate porcelain increasing all by itself. Spikenard. Iris. And in …
A star-shaped object rising up out of the water – five wavering arms, five spokes of a chariot wheel, five curved cylinders, at their centre a cluster of grey barnacles, small pearls, a silver light, the water that drips from …
In the late 1850s, Charles Harpur composed the image of ‘a scanty vine,/ Trailing along some backyard wall’ (‘A Coast View’). It might be forgettable, save for its conspicuousness in Harpur’s bush-obsessed poetry. Whether purple ranges or groaning sea-cliffs, his poems cleave to a more-than-human continent. The scanty vine, however, clings to a different surface: human-made – the craft of a drystone wall, perhaps, or wire strung through posts like the twist of the poetic line – it signals domestic land division. Harpur’s vine of words trails along the vertical edifice of settlement.
Wherein it is seen how buried always inside me is a Jew To howl out ballads, to hear plainchant up ahead, constantly, right to the end. To tread ears of corn on Judgement Day, and see wholegrain bread emerge from …
Anonymously they came for his bones hoping they would still hang with some flesh. ‘Blah blah’ said one, and ‘Yes yes’ said the other. Little too-mortal teeth ripping into the poems they knew were not the truth of it. ‘Oh …
Born in Banes, Cuba, in 1916, Gastón Baqero grew up in the countryside, a rural beginning that figures as one element in his, in many ways very urbane, poetry. He was part of the Orígenes group, a gathering of rather diverse poets including Lezama Lima, Eliseo Diego, Cintio Vitier and Fina Garcia Marruz, who collaborated on the highly influential journal of that name between 1946 and 1956. The Orígines group was at the centre of a major renovation of Cuban poetry, moving it away from 19th Century models towards a range of new aesthetics, notably the neo-barroque movement associated especially with José Lezama Lima.