- 100: BROWNFACESUBMIT NOW with W S Dunn 99: SINGAPORECOMING SOON with A Pang and J Ip 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
Sleeping in its brick tabernacle the still water is like an ear or radar dish attuned to distant pulse. Incurious, we’ve walked forever to school and work past locked gates. The saw tooth roof gives nothing away but scission with …
In her introduction to this anthology, editor Sarah Holland-Batt claims for the work ‘a colloquialism, contrarianism and playfulness that separates it from its counterparts in the northern hemisphere’. Being hitherto more familiar with that northern hemisphere, this reviewer’s critical interest was immediately aroused.
The letters in this illuminating and entertaining volume, written by Gwen Harwood to her friend Alison Hoddinott (the collection’s editor) and her husband Bill Hoddinott, cover the period leading to the publication of Harwood’s first book of poems. 1960-1964 were the years in which Gwen Harwood’s poetry was coming to light in literary magazines in Australia, sometimes under her own name, sometimes under one of her three nom-de-plumes: Walter Lehmann, Francis Geyer and Miriam Stone.
There is much poetry about currently which does not value rhythm and music as integral to its sense. Day’s poetry absolutely does; filled with assonance and internal rhyme which renders many individual lines beautiful and suggestive. The first poem, ‘El Iskandariya’ is one of the best, capturing a moment without labouring it:
When marsh birds pooled out of the sky like ink on water to devour the barley flour that Alexander’s men had laid to mark the city’s boundaries, the hour seemed lost beyond recall ... (p. 1)
It’s a long time since I’ve read Gaston Bachelard’s The Poetics of Space, but I find myself lifting it off the shelf again and flicking through the contents page. I’ve been reading Vivian Smith’s new book, Here, There and Elsewhere, a reflective collection that is mostly linked by notions of memory, age and time, enduring themes that Smith handles with dignity and sleight of hand. But space is interestingly also central to this collection, in subject as well as craft. In Bachelardian fashion, Smith, in many of these works ‘explores the significance of the various kinds of space that attract and concentrate the poetic imagination’ (The Poetics of Space. Beacon Press, 1964). It’s not surprising therefore, that almost all of the poems in this book are sonnets, the poetic form which to my mind makes the most adroit demands on space.