- 102: GAMESUBMIT with J Maxwell and R Green 101: NO THEME 10COMING SOON with J Kinsella and J Leanne 100: BROWNFACE with W S Dunn 99: SINGAPOREwith J Ip and A Pang 97 & 98: PROPAGANDAwith M Breeze and S Groth 96: NO THEME IXwith M Gill and J Thayil 95: EARTHwith M Takolander 94: BAYTwith Z Hashem Beck 93: PEACHwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRICAN DIASPORAwith 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’ve noticed that Prithvi Varatharajan thinks carefully about offering a true gesture, word or position in every social exchange. I sense that, for him, all communication is an art defined by authenticity rather than decadence. His reflective nature is continuous with the character of the poetics in Entries.
In curating this chapbook I’m not sure I feel closer to answering these questions: certainly they are never stagnant … But I do feel closer to poetry’s resistance to answer these questions, which does circle back to some kind of answer to my last question – we return to poetry not because we have an answer, but instead return in a process of regeneration.
that summer of 2002 on the eve of the new year I was in Tasmania sipping red wine with a priest and my father in a caravan park his name (the priest’s not my father’s) was Felix, or Sebastian, something …
When I reflect on the last decade of my engagement with poetry, I hear a presence shadowing many of my encounters. ‘Hear’ is an apt verb, because this presence is aural.
Cordite is chuffed (once again) to announce that, joining Rosalind McFarlane, Amelia Dale and Joan Fleming as commissioning editors, Prithvi Varatharajan is joining the Cordite Poetry Review fold as commissioning editor for media poetry.
The subject of my interview with Cahill is her second book of poems, Vishvarūpa, which is a highly unusual book by a contemporary Australian poet. In Vishvarūpa Cahill reanimates figures from ancient Hindu mythology.
It can be daunting to survey a poet’s life work: there is the temptation to ‘make sense’ of the work as one coherent picture – to see it steadily developing in one trajectory, or honing one aesthetic (with deviations from this measured and marked) – or else as containing discreet phases which have beginnings and ends.
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.
Takolander’s work often dwells on the self, the body, and history, each of which she de-familiarises in her poetry, making it seem strange, or revealing the strangeness that was there all along.