Kyle Archie Knight | ‘Burning Down the House’ (2025)

THRUM editorial: Georgia Kartas and Thabani Tshuma

Artwork:
15 artworks by Kyle Archie Knight

Essays:
Feral and foaming at the mouth: Writing the erotic in an age that wants and fears it by Andrea V. Tubig
Mycoforms: A family of invented biomimetic forms by Stuart Wilkinson
‘I am writing a lot of love poems’: Poetry and queer pleasure activism by Duc Dau
Embarking forever: Minecraft as poetic practice by Hannah Jenkins
cherry picker by Jayda Wilson
Skim stone stim rock: Towards a stim poetics by Tess Ezzy

Interviews:
‘I want to stand at the end of a poem as the humans stand beneath the sky’: Gavin Yuan Gao in conversation with Thomas Enriquez
‘Becoming one with landscapes’: Jelena Dinić in conversation with David Ishaya Osu

Translations:
6 Sapardi Djoko Damono translations by Norman Erikson Pasaribu
3 Veroniki Dalakoura translations by John Taylor
3 Machado de Assis translations by J. T. Townley
3 C.P. Cavafy translations by F.M Papaz

Chapbooks:
A signal sometimes reaches by Jim Thomas
Extract: Is Canberra a Metonym? by Toby Fitch and John Kinsella

Reviews:
‘The emotional soul of poetry is inventory’: Abbra Kotlarczyk reviews Elena Gomez and Jennifer Mackenzie
Afterlives, or, memory holding memory: Munira Tabassum Ahmed reviews Kaya Ortiz and Shey Marque
Stunt double: Grace Roodenrys reviews Emilie Collyer’s As If I’m Really There

Special features in collaboration with Diversity Arts Australia:
Parramatta’s new wave of storytellers: Fale Tumanu in conversation with Helen Latukefu and Atoc and Amuor Malou
From the west coast of eternity: On archiving Somali memory, the palatable diaspora and thinking ahead of the trauma
Second city, second settlement: Deborah Prospero walks Parramatta with Eda Gunaydin
‘Who am I and who could I be?’: Kathleen Thomas in conversation with S. Shakthidharan
‘I’m the blueprint of what I want to do’: Sydnye Allen in conversation with Georgia Kidd

And 53 new poems selected by Georgia Kartas and Thabani Tshuma:
Post-operational era
by Farrin Foster
North Star
by Anneka May
interpolation
by Elouise Franklin
Commuting
by Laurehl Onyx B. Cabiles
Mothers Always Cry
by June Paisa Perkins
Verdigris
by Veena Selvan
roughshod (and not in a river)
by Nathaniel Calhoun
Grace
by Joel Keith
The E’s Have It
by Pep Phelan
NDIS Application
by Temily Green
Aura
by Cate Bailey
Return Scene
by Aoife Hilton
A family video call
by Mwaffaq Al-Hajjar
The Year in Love
by Ifeoluwa Ayandele
Snow moon in summer
by Dianne Millett
No Words Until After
by Michael Janairo
žižek’s tradwife
by Vange Holtz-Schramek
Pulse
by Jesper Alexander
The Blur of Summer
by gervaise savvias
Alakta
by Riya Rajesh
The second chance
by Ali Jane Smith
Urbanised Relic
by Zarah Yakubu
no first name
by John Bartlett
Puasel
by Tijana A. Wekker
Untitled
by D. Frederick Thomas
Deed of release
by Russell Buzby
run
by Edward Leeming
Storm Against Two Doors
by Suhi Ahmed Susan
luminescent antler
by Dennis Hinrichsen
The Rest Cure
by Adele Hally
Wish You Were
by Chenyi Wu
Northbridge
by Andrew Robson
instructions for returning
by Merinda Dutton
Cymatics
by Danah Slade
dorombol
by Kit Kelen
Slow Softening
by Catherine Trundle
The Weather in our Absence
by Oladejo Abdullah Feranmi
The Prospect
by Ben Yi-Yu Qin
A FONT
by Robert Juan Kennard
Jawbreaker
by Nikita David
Adrenaline
by Roslyn Orlando
Ode to Dwarf Shrimp
by Belle Biscotti
Ran Through Poem
by D. Perez-McVie
 
 

CORDITE POETRY REVIEW
ISSUE 122: THRUM
Released: 6 November 2026


ESSAYS


Skim stone stim rock: Towards a stim poetics

Friday, November 6th, 2026

Poetry has always known what neurodivergent readers know in the body. Anaphora, refrain, the rocking of metre, the flick and return of the pantoum: these are the motions a stimming body makes. The hand at the wrist, the rocking at the hips, the phrase said over and over under the breath until it goes soft at the edges. And yet criticism, for the most part, treats repetition as a device. It is catalogued as technique, praised as emphasis, diagnosed as excess when there is too much of it. What it is almost never called is what it so often is: regulation.

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REVIEWS

‘The emotional soul of poetry is inventory’: Abbra Kotlarczyk reviews Elena Gomez and Jennifer Mackenzie

Thursday, October 22nd, 2026

A pet peeve is when someone places the honey back in the pantry – lid up, label down. It’s a squeeze bottle! It’s a travesty. The bottle’s purpose is to assist the flow of honey by being placed sphincter-side down to the sticky, well-worn laminate shelf, ready for its next loving hug by an eager, hungry fist.

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INTERVIEWS

‘Becoming one with landscapes’: Jelena Dinić in conversation with David Ishaya Osu

Friday, November 6th, 2026

There is a characteristic lucidity in the poetry of Jelena Dinić: in how she experiences the world and fosters a flowing, expansive insight into phenomena of existence through stanzas. Her images invite you to re-envisage equations between lived time and continuing currents of being. When Jelena writes that “the sky takes the last look,” what direction or position of knowledge is the poet pointing us to? What (and how) does the poet want us to see? What motive vision would such phenomenological process illume?

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GUNCOTTON BLOG

and
Submission to Cordite 123: CONDITIONS

Friday, October 9th, 2026

What CONDITIONS produce poetry? Who defines them? Under such CONDITIONS, we are concerned with the circumstances, terms, agreements, through which something becomes possible, permissible, necessary, or unavoidable in poetry.

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