Disquieting and deeply moving, Shane Strange’s debut collection inhabits a space that is somehow both intimate, and remote. All Suspicions Have Been Confirmed is marked by precise, pared back language, and immediate, hauntingly resonant imagery: we move through the space and places, the cities, the landscapes of these poems almost as we might move through a film, or a vividly remembered dream.
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 poems move freely in time from the 1950s to the present day, from the contemporary to memoir, from gender politics to bushfires and floods. They show you jeeps, trucks, girlfriends and cane-cutters, widgies, Singer sewing machines, tattoos and rats and class grudges.
Sandra Renew uses a range of traditional poetry forms to lay bare some of the gaping fault-lines of gender relations especially as they are experienced by LGBTIQ communities.
These poems emerged slowly, and through aleatory conversations between Shé and Jen, in which they identified points of connection in and beyond poetry. Both poets are interested in experiment, and in women poets’ voices; both have lived in Western Australia and been captivated by the light, the space, and the vastness of that state; and both poets have spent a fair bit of time in mourning and in responding to the loss of loved ones. They are also interested in movement in creative and scholarly terms. For Shé, the elemental world is a motivating force; for Jen, it’s travel—hence the title of this joint publication.
From the author of the award-winning Things I’ve thought to tell you since I saw you last comes a new collection of poems steeped in a sense of dark foreboding. Jumping from the global to the everyday, many of the poems in Nigh chime with the mood that all is not right with the world. Even in the seemingly mundane, or overtly beautiful, Layland finds some uncomfortable truths waiting to be unpicked. Nigh displays the confidence of a poet looking and thinking deeply about the world and offering it up in language as crisp as it is beguiling.
Doggerland is the name of a once fertile and populated land mass, now submerged under the North Sea, that once connected the British Isles with Europe. In the winter of 2017/18, Doggerland was clearly visible once again from the coast near the town where Moya Pacey was born and raised. In Pacey’s hands, this phenomenon works as a metaphor for how memory brings to the surface images, glimpses, stories, people and places appearing and disappearing, in no set order, around the space of this collection of poems.
Doggerland revisits a time of post World War II northern England, replete with traditional norms and values, and darknesses waiting to emerge above the water of everyday life.
This Cathedral Grief responds to the death of Adrian Caesar’s sister, Karen, from pancreatic cancer in 2012-13. This book explores various dimensions of faith—secular, artistic and spiritual—in an attempt to wrest meaning from the blank of loss. Without supporting any single position or belief, these poems are provisional statements, charting the impossibility of celebrating or memorialising someone successfully, much less recovering that person through language.
Matt Hetherington’s sixth collection is a palindromic homage to the personal, the political, and the personal as political. Filled with playful, sometimes cheeky poetry, Kaleidoscopes is also a book of relationships and gratitude, of things missing and abundant, and of a poet seeking to find his place in a difficult but ultimately joyful world.
Wild Curious Air is a conversation, a series of readings or observances, full of shiftings: of ideas, words and bodies; through breath and breathlessness; intimacies and desires; ecstatic and dreaming states; and continuous retrievals of memory. It is a book of play and pleasure that acknowledges the global emergencies of the 21st century, as a calling to and a calling up of things, big and small, close and distant, made in language, made while moving among and through the world.
The latest collection from Benjamin Dodds interprets the bizarre true story of Lucy, a chimpanzee raised as the ‘daughter’ of Oklahoma psychotherapist Dr Maurice Temerlin during the 1960s and 70s. With deep empathy and an eye for subtle, telling moments, Dodds oﬀers a complex reimagination of Lucy’s fraught hybrid life through unﬂinching poems that fascinate and unsettle in equal measure.
Meerabai (1498-1556) was a poet, singer and dancer and a devotee of Hindu god Krishna. She is revered as one of the prominent voices of the Bhakti Movement: a movement of religious reformation which valued personal engagement with deities over traditional ritualistic practices.
Rain Clouds offers fifteen of her devotional love poems in both Hindi and English, translated by multi-lingual scholar and poet Subhash Jaireth.
Lucy Alexander’s new collection is suffused with subtle observations of nature, childhood, and memory. In imagery loaded with both immediacy and resonance, each ‘stroke’of these luminous poems invokes the sense that great and shifting worlds are coiled within even the smallest of things..
When Charity finds letters, journals and sketches in the roof of her great-aunt’s house, she uncovers a rich family history that she must piece together from fragments. Great-aunt Birdie’s letters to her lover are a compelling and revealing account of life for many women in the 1930s. Her experiences as an artist in the first decades of the century, and her earlier relationship with a young man who goes to war, also provide powerful insights into a woman who, as Charity begins to suspect, wanted more than her era would allow.
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.
Zoe Anderson’s first poetry collection uses elements of fairytale and mythology to reflect on landscape, love and ecological uncertainty. Accompanied by darkly heartfelt illustrations by Helani Laisk and playful typography by Caren Florance, this is a collection full of hope, imagination and truth.
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.