- FREE: 20 Poets anthology
- 93: PEACHSUBMIT to 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
- NO THEME VIII Editorial
- ‘A means of resistance’: Susie Anderson Interviews Alison Whittaker
- 10 Works by Richard Bell
- Shipwrecks in Modern European Painting and Poetry: Radical Mobilisation of the Motif as Political Protest
- 4 Self-translations by Danijela Trajković
- Brutalism: Poems by Alex Creece
- Imperfect Growth: a Travel Log
- 4 Translated Kim Seung-hee Poems
- Residence: Dwelling with The Shards (an essay)
- The Shards
- in yr swimming pool
- Sonar for Conception
- The slow clock
- nanny on the water
- Vernal Funks & Bluffs
- I’d Have Called Her Sooner
- Call of Summer
- Sunday, call me a squid
- Mother Bird
- The Wrong Colour
- Milk River
- House fitting : surprisingly
- Farewell to Sweet Pea
In ‘The Day’, Harris writes a stunning eschatology for Gough Whitlam. For Harris the dismissal was ‘the day of deceit’, ‘the day to lose heart’. As I write this review, I too am demoralized and anxious, despite the beta-blockers.
Phillip Hall’s Fume is rare for the raw, fresh force and integrity of experience that lies behind the poems. Fume was largely written during a period of five years (2011 – 2015) that Hall and his wife Jillian spent in Borroloola in the Gulf of Carpentaria, where Hall worked as a sport and camp teacher in a role focused on activities for local Indigenous kids.
St Ignatius of Loyola is supposed to have said: ‘Give me a boy until the age of seven, and I will own the man’. Well, the Baptists had me for a lot longer than my first seven years, and subsequently, I have lived a most conventional life.
In the Garden I cross the threshold of glasshouses seeking succor with bromeliads whose leaves are banded with scales, like blotting paper, to inhale this morning’s fog: outside I meander amongst upright natives: one is shaped like a pine but …
When Judith Wright died in 2000, at the height of Prime Minister John Howard’s cultural hegemony, Veronica Brady was called upon to deliver a eulogy at the public memorial held in Canberra. This eloquent and impassioned speech was reprinted in a national newspaper under the headline, ‘Giant in a Land of Pygmies’.
Maggie Walsh is a Bwcolgamon woman from the First Nations community of Palm Island, a tropical paradise located in the Great Barrier Reef only sixty-four kilometres northwest of Townsville. But this is a paradise with a troubled history since European settlement – with a lack of jobs and housing, and a tragic reputation for violence and disadvantage. In 1999, for example, the Guinness Book of Records named Palm Island as the most violent place on earth outside of a combat zone.
This biography is another powerful testament to the tragedy of difference. Sylvia Martin writes of an idealistic creative pragmatist who was victimised for her gender disphoria and, while loved, never accepted. Aileen Palmer is yet another outspoken and independent woman hounded to the mental hospital and shock treatment.
These three poets, who exist outside university creative writing and humanities faculties, have ‘chosen’ a publisher independent of Australia Council arts funding and have been somewhat neglected by critical attention and awards recognition. All three poets collect richly lyrical and narrative poetry that praises the natural world and interrogates different aspects of our ability to live in it respectfully. All three collections are beautifully presented and feature stunning cover artworks that reveal each poet’s preoccupations and intentions.
The bardibardi call time on mununga slogans of ‘stop the boats’; shaping-up and giggling their Makassan memories of brown bodies coming ashore in a spray of surging sea: for centuries these boat people cultivated tamarind trees in a highlight of …
Suzanne Falkiner describes her aim in writing this biography of Randolph Stow as being ‘to contextualise the [literary] works within the broad arc of Stow’s life’. She notes that Stow’s desire for an ‘authorial invisibility – and an accompanying silence – extended to a desire for a chameleon-like camouflage in his personal life’. This camouflage included a retreat from Australia and ‘from the world of published books, in a gradual progression towards silence and into a richer inner landscape’. But, Falkiner shows, this ‘richer’ inner life was always plagued by depression (and one serious suicide attempt), a one-time addiction to prescription drugs, a very complicated (dependency) relationship with alcohol, a fear of madness and a failure to establish long term sexual relationships and to acknowledge and accept his sexuality.
Australian poetry reminds us that we cannot encounter the natural world except by cultural means. As Tom Griffiths writes, the idea of the natural world as a ‘cultural landscape acknowledges that an area is often the product of an intense interaction between nature and various phases of human habitation, and that natural places are not, as some ecological viewpoints suggest, destined to exist as climax communities or systems untouched by human hands’ (1996, p 277).
The Gulf’s ancient tongues are hobbled by inherited trauma, gene-crackers sadistically scabrous and burgeoning in the remembered fluency of wire-tipped stockwhips and all those manhandled civilisers of a splendid frontier’s orders. And though munanga were not to prosper in these …