- 104: KINwith E Shiosaki 103: AMBLEwith E Gomez and S Gory 102: GAMEwith R Green and J Maxwell 101: NO THEME 10with 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
The notion that poetry is primarily self-expression has often seemed to me a seductive (but conveniently commodifiable) mistake. We all like to think that we are makers of language, but anyone poking around in the engine of poetry uneasily realises that it is just as likely to be the other way around, that just as DNA shapes our morphology, language is the shaper of our consciousness.
Ex Machina (BookThug, 2009) is a long poem written as a series of poetic and philosophical statements. Each page contains a titular number, and each line of the poem refers the reader to another page through a footnote. The book thus resembles the Choose-Your-Own-Adventure books of yesteryear, only instead of developing a progressive narrative, the system recurs and loops endlessly. If one attempts to read the book as directed, not only will one never reach a terminal position, but certain pages that exist outside of the system will remain forever unread.
Do you remember a time when you completed the written draft of a poem and signed it with the © symbol beside your name? By including the copyright symbol you probably thought you were asserting your ownership of the poem and establishing yourself as the creator, as well as protecting your exclusive right to publish, perform or otherwise deal with your creation. However, you do not need to include this symbol in order to be protected by copyright law; in Australia, this protection is automatic when an original work is written and you retain control of your work unless you sell or transfer the exclusive rights.
We're thrilled and excited to say that we've now gone live with the second part of our Epic issue. Cordite 31.1: POST-EPIC aims, in the spirit of Ko Un's Maninbo (Ten Thousand Lives), to produce 1,000 lines of epic poetry. Towards this end, the poets featured in our Epic issue have each nominated a line from their work to be used as the title and starting point for a new Post-Epic poem.
It's in the nature of poetry that sampling, covering, or borrowing, conscious or unconscious happens all the time. We all try to write like people we admire. In the case of satire we may try to write like people we don't like at all. In language there are only so many riffs there for the taking and what makes a poem interesting is the manner in which it performs its little (or big) thefts.