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- Introduction to Louise Crisp’s Yuiquimbiang
- Review Short: Ken Bolton’s Species of Spaces
- David Gilbey Reviews Adam Aitken and Elizabeth Allen
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- Three Translated Xhevdet Bajraj Poems
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- ‘There is nothing more shared than language’: Carolyn DeCarlo Interviews Gregory Kan
- ‘Language can multiply itself and form secret and unusual patterns’: Andrew Pascoe Interviews Ania Walwicz
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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.