New Recent Work

The aim of this project has been to translate or transform poems originally written in Japanese into poems that live and breathe as poems in English.

This anthology collects 10 of the finest contemporary women poets working in Japan today and offers translations that reinterpret the work as poetry in English. The result is an edgy, compelling, beautiful group of works, presented in a bi-lingual format, that challenges perceptions of contemporary Japanese life, culture and history.

Poetry from:

IPSI CHAPBOOKS - New poetry from signficant national and international poets.

Under the bed.
Come on down here with me.
Crawl under.

Two friends—one in the country, one in distress—communicate throughout Monica Carroll's strangely compelling Isolator, a book of puzzles and performances, and screams in the night.

The lodgings at the end of girlhood
are not as advertised …

The weight of our bodies, the heat of them; the thick waist of history; and the crush of possible futures, these poems reside on the lip of contemporary womanhood.

Sometimes a poet’s voice seems to land with a satisfying thump, fully formed. Charlotte Guest’s is one such voice. Her elegant, tender and surprising lyrics are tuned, in her words, to ‘invisible forces’. Her learning, worn light, makes the suburban world strange and familiar all at once. Investigating in her debut Soap ‘the lodgings at the end of girlhood’ with both wit and heart-aching ambivalence, Guest is one to watch.
Lucy Dougan

I’ll write about all the losses: socks, loose
coins fallen behind soft-cushioned sofas,
shoes looped around lamp posts, laces dangling
like nooses, keys, coins, wallets, names and numbers
passports and purses, pens, phones, glasses, gloves. 
Moya Pacey's Black Tulips is filled with subtly observed poems pushed into the service of a dark, and darkly humorous, sensibility.

Language douses them in spilled buckets of words. Damp acres gutter. Black lines run like snakes towards my feet.

When reflecting on colour we often recall the bleeding cerulian sky, nestled safely in the memories of our youth, or the deep red of a sunset, moving too fast too capture. In this chapbook collection Paul Hetherington, Jen Webb, Paul Munden, Cassandra Atherton and Jordan Williams explore their relationships with colour and the ways in which they experience it from the underwhelming yellow neon of mustard on a hotdog sign to the green black flesh of rotting leaves.

The proof is in a single strand of hair:
that is all that’s needed to lay the blame,
to name the father, victim or the thief
who tried to leave no fingerprints behind.

From the opening poem of Maggie Shapley's first collection Proof, we know we are in the company of a thoughtful, sometimes restless, poet. Here, in explorations of childhood and family, memory and loss, belonging and dislocation, we find every word conveying a powerful sense of lived encounters and experience. This is poetry characterised by close observation, a restrained wit and a fine precision of language.

1962. Menzies was in power, Whitlam was deputy Opposition Leader, and the cold war was in full swing. Canberra was steadily transforming froma town in a paddoc to a city with a lake. This is a year in the life of the building that held all the action: Old Parliament House. One of the outcomes of a collaborative project between poet Melinda Smith and artist Caren Florance, this poetic work is an exercise in re-voicing the past and placing it in conversation with the present.

2017 Editions