Toby Fitch



Toby Fitch Reviews Catherine Vidler

In the late Catherine Vidler’s first full-length collection of poetry Furious Triangle (2011), a brilliant book of poems using regular old words, the spores to Vidler’s entirely wordless visual poems can be found. There are experiments in the microscopic, such as through anagrammatic play and her ‘20 one-word poems,’ the latter of which highlights the contradictory and proliferative meanings within single words.

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Toby Fitch Reviews Running time by Emily Stewart

Emily Stewart is the author of numerous chapbooks, including Like and The Internet Blue. Her debut poetry collection Knocks (Vagabond Press 2016) won the inaugural Noel Rowe Poetry Award and reflected an assuredly varied approach as it experimented with multiple voices (not just in monologues but polyphonic within poems), erasure as a feminist poetics (with homage-like condensations of Lydia Davis, Helen Garner, Susan Sontag, Clarice Lispector and more), post-digital affect (extracting poetic value from online idioms in particular, though sometimes overwhelming the poetic value), all while interleaving themes of climate change, the cost of living, and more in an exploration of what it means and feels like to live in so-called Australia in the Anthropocene.

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The Email May Contain Information: Eda Gunaydin on Toby Fitch

What might it mean to acknowledge that this is the substance of the labour performed by many of us, those of us who aspire to do anything but?

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Writing Threat and Trauma: Poetic Witnessing to Social Injustice and Crisis

This article explores creative responses to crises that are written and technologically mediated in a liminal zone between threat and trauma.

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Dust Red Dawn

Can you convince the wind to change direction? The Opera House dishes in their rack are browning again. The government wants them whitewashed by massive, shock-jock-endorsed horse-racing ads. It’s nearly summer and November’s going loopy. The sky turns ochre, orange …

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Joel Ephraims Reviews Ashbery Mode Edited by Michael Farrell

The presence of John Ashbery shines over contemporary literature, for many as an enigma, indisputably as a catalyst. Part of the post-World War II wave of new American poetry, his name is grouped not just alongside his contemporary poets but among their literary schools and movements: the L-A-N-G-U-A-G-E school, the New York School, the San Francisco Renaissance, the Beats, the Black Mountain poets, our own ’68ers and J.A.

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A Massage from the Vice-Chancellor

1 Dear ____ , in a nuanced way. At the shame time I am writing to you this is in addition to your with some key information regular annual crisis disruption. In adjuncting to our management ‘new normal’ you have …

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Never Be Alone Again: Hip-Hop Sampling as a Technique in Contemporary Australian Poetry

One of those most important battles of hip-hop’s first two decades wasn’t waged between two MCs at a cypher. And it wasn’t a couple of b-boy crews popping and locking at a block party. Instead, it pitted a hip-hop clown against a puffy-sleeved Irish balladeer.

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‘The amorphousness of meaning-making’: Elena Gomez Interviews Toby Fitch

I did write some poetry at school, just never with much intent.

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King Tide

we don’t always take stock of or shed our satellite stocks but a blonde woman pointing at maps became historical and the moon shone hysterically on our sector so we embraced our shelves for a large complex weather event an …

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Toby Fitch Reviews Holly Friedlander Liddicoat’s CRAVE

First books are a big occasion for poets. Their publication makes something heretofore unofficial official while announcing the poet as one committed to ‘the art of language’, as Gig Ryan describes poetry.

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Aussi / Or: Un Coup de dés and Mistranslation in the Antipodes

‘Shipwrecked on the shoals of contingency’, Australian poetry is haunted by Stéphane Mallarmé’s poem Un Coup de Dés. Its publication in Cosmopolis in Paris in 1897 struck a nerve or, rather, a vessel within Australian poetry bloodlines,

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Mangled, or Yet Another Hierarchical Official Oracle

* w e r t q i o u y f goo h j k l zx cvs b nerf , > ( 9 @ …) wtf_ # this ; & gle i is ya the h | dream o …

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Argo Notes

1 irreverence of being a baby amniotic fluid sonic bubble & blood i find you forget you the heart’s action & breathing i keep forgetting you makes spontaneous gesture possible but you remember me our conference about breastfeeding i lose …

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Feel Like I’m Somehow Related to Everyone on the Internet

I am outraged / have been as long as I can remember The sky’s a projector & the moon was brought here by aliens To keep us informed of the shitstorms going on I am outraged / been a member …

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The Left Hand of Dankness

/ facts seem to alter w/ an altered voice as one counts capital backwards / i didn’t know it was raining / dank advancing comfortably as fish to the various electric musics that echo thru the deep state / polished …

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Illiterature

I’ll start this off without any words, watching them pass like clouds in the sky, too busy sucking. On warm milk and laxatives I’ll walk you through heartbreak, show you the out-takes—all the dead wood from jungles and cities on …

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Erin Thornback Reviews Chris Edwards and Toby Fitch

Chris Edwards’s O Sonata dwells in the vortex of the underworld, plumbing the depths of the Orpheus and Eurydice myth and resetting the entrails of Rilke’s Sonnette an Orpheus into a crossword puzzle ready for consumption. In the eponymous sequence, Edwards offers up a renewal of the Orpheus (also known as ‘the futile male’) myth to signal his reconsideration of repetition and originality as the basis of a literary revision – releasing a suite of renditions that purposely misinterpret, transliterate and obscure.

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Poetry of the Eye: The Visual Aspects of Poetry

Image by Tim Grey Presented by Cordite Publishing Inc. and Australian Poetry, and hosted by poet Toby Fitch, this workshop at the 2016 Emerging Writers’ Festival will open your eyes to the potential of the poem on the page. By …

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After the Orgy

i is an / ugh it’s an ignoramus jamais jamais u say / or maybe nether nether its inland sequel is counting on this Eur optic allusion to echo it &/ or braise it w/ outsourcery in terror pots of …

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Orb

noon when i woke Dawn long since fallen with a plonk or was that my child on timber floors her massive booty surrounded by discarded labels from the discount sales she crashed at the top of the main drag last …

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Villainesque²

We met as phantoms in the mountains, Unable to avoid the transnational arm of sleep Of whatever city we got raised in. I had such a beautiful dreamtime, an electric field, My only weapon against it was to escape Like …

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Dan Disney Reviews the deciBels Series

These ten tiny tomes each speak (squawk, swoon, glitch, muse, lyricise, confess) of how there is something not ticking precisely inside the reality machine. Or perhaps these books shine light onto how we’ve all gone slightly spectral within our anthropocenic phantasmagorias, lost and unmoored in an experiment that’s become dreadfully strange. Some of these books turn exclusively toward the world, others perhaps come from particular critical engagements; each serves to extend conversation both on what poets do, and what poems are for.

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from Jerilderies

Posted in 64: CONSTRAINT | Tagged