The poems in (Un)belonging explore physical and psychological spaces, examining the consequences of a life lived on three continents, defined by separation from homelands and loved ones, shaped by departure and return, and the evolution and multiplication of identity. Throughout the collection, the setting continually moves from Australia to Ireland to the United States, making stops in England, Iceland, Greece, Italy, New Zealand and Slovakia. O’Reilly’s poetry engages with a range of concerns and obsessions, including identity, belonging, expatriation, immigration, exile, ancestry, landscape, alienation, homesickness, suburbia, fatherhood, nostalgia, death and grief … finding beauty, contentment and joy amidst an elusive quest for home.
90 poets from across the world reflect on a this marker of a time before the 24-hour news cycle, before the ubiquity of news and information that seems to haunt us through our daily lives. Through this anthology there are poems that capture that moment of nothing but piano music making up an evening news bulletin, poems that contrast this with today’s news, and personal stories grounded in the intervening years.
In turns unsettling and funny, Oliver Driscoll’s debut collection is a testament to the mundane resonances of contemporary life and language. Driscoll’s wry eye captures the subtle whimsy of the everyday, while exploring the capacity of its language to disturb the field of human meaning.
Story Ground is a place of story, of attentiveness and support. A place where stories are held safely and dearly, and are shared bravely—the very foundation of Community and Culture.
Story Ground: The anthology is a collection of prose writing, poetry and storytelling deriving from a series of workshops based on traditional Indigenous practices of storytelling and knowledge. The authors come from far flung places. Their writings here are breathtakingly powerful. This anthology is for the keeping and for returning to—a collection that you will find yourself reading and embracing, time and again.
‘Some Sketchy Notes on Matter came together slowly around preoccupations of safety and shelter at an individual, societal and global level. I also wanted to look at the tensions between digital and analogue reality, between the city and a natural world that exists without us, strange, compelling and precarious. At its worst these tensions become an imbalance, a violence, threatening not only the individual body but the entire planet.’
The six senses have rarely been invoked in such sustained and evocative poetical terms. Whether one wants to understand touch, taste, smell, hearing, intuition or sight, this volume provides myriad avenues enabling a rich appreciation of sensory experience.
Wardrobe of Selves, Peter Bakowski’s seventh full-length poetry collection, pays homage to: the acrostic poem, aphorisms, blues and roots music, the cities of Berlin, Melbourne and Paris, espionage, film noir, haiku, humour, modern history, pacifism, painting, photography portraiture, proverbs, quotations, the sonnet, surrealism and travel.
In this, his fifth full-sized collection, Paul Cliff evokes the city of Canberra and surrounding region, where he has lived for the past 20 years. The poems work via characteristically wideranging moods and voice registers, from lyrical and elegiac to narrative and comic. They also deploy a variety of forms, from sonnets and odes to fables and epigrams, underlain by seductive rhythms and arresting metaphor. The capital’s festivals, institutions and monuments, everyday street life, suburbs, and lakescape are investigated, while the more distant terrains of Weereewa (Lake George), Namadgi, the Monaro, the Snowy Mountains, and the South Coast of New South Wales are also evoked in engaging and often striking terms.
These prose poems – I would like to call them ‘moments of poetry – recall journeys and intimacies, spaces of habitation, daily practices of denial, rescue affection or assertation. They reflect on negotiations between body and mind that can so fiercely mark the experience of womanhood, striving to capture the intermittent intensity of this ‘boundless resistance’ through the impact of summer and winter storms.
The poems in Alyson Miller’s debut collection are an exploration of the taboo and violence of human nature. From sexuality to the threatening and deadly, these prose poems off new perspectives on the unspeakable, shadowy places of human experience.
On 21 July, 1969, Neil Armstrong became the first human to step foot on the moon, uttering those famous words: ‘That’s one small step for man, one giant leap for mankind.’ To mark the fiftieth anniversary of the Apollo 11 moon landing, 50 poets from around the world were asked to reflect upon the achievement of Apollo 11 and our constantly evolving notions of ‘space’.
In A Common Garment, Anita Patel reminds us that nothing is ordinary. These intensely sensuous poems are rich in flavour, scent, colour, and the sound and feel of languages that inhabit the body and shape our unique selves.
Jackson’s new collection traverses science and spirituality, philosophy and matter. Drawing from physics, systems theory, Daoism and more, it contemplates profound questions about our place within a world of being. With deft silences and fine observations, these poems explore both modern and ancient paths to knowledge, seeking to ‘fully apprehend nature, including our fellow beings, and foster a reverent respect for it’.
These haiku were written over three summers, camping on our piece of land near Waihi in Aotearoa New Zealand, and, for contrast, one winter sojourn there in our newly-built gypsy wagon. The land is bordered by the Mataura stream—which means ‘red face’. We call the place ‘Land of the shining stream’ or ‘River’s edge’. The eels are named Brad and Angelina. One day, we’ll build a house there. In the meantime, we’re developing the land along permaculture principles, and noting moments both practical and transcendant.
This new prose poetry sequence from Paul Hetherington explores the power of memory and the hauntings of childhood. It takes the reader on a sensuous and richly imagistic journey into expansive ideas of self and identity. It probes and questions the nature of recollection, and how the role of the father and mother may be understood, drawing on a number of existing literary works to create elaborately poetic and deeply satisfying verbal textures.
Sandra Renew’s new poems interrogate the choices made in living and performing gender, sexuality and desire—of struggling to be queer in an Australia of Holden utes and rotting mangoes, XXXX stubbies and Bundy rum, boudoir drawers and country roads, toad princes and wanting to be Wesley Hall. It is a book of not wanting to conform, charting the myriad pressures society places on conformity as a mode of survival. It is a brave, and sometimes funny book, filled with wry and deeply felt images and observations