In each of the stories in this collection, the authors examine the conundrum and contradiction of human experience through carefully crafted narrative detail. The brevity of short-form fiction makes it an apt vessel for capturing the haunting incompleteness of human experience. Memorable short stories resonate because they are attentive to specificities and particularities: to detail as it relates to a distinct focalising consciousness. The authors in this collection employ narrative detail with intuitive hands and minds, fashioning an apprehended fictional world, an abstracted reality that resonates beyond the final lines of text. Each story here is marked by the urgency of idea, captured as raw sensory data. Collectively, they are attentive to the crucial relationship between idiosyncratic voice and sharply rendered detail, creating an experiential world that ‘feels real’ to the reader.
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.
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.
Borderless presents a collection of brand new, specially commissioned poems from a wide range of contemporary poets refl ecting on feminism in its broadest sense. While it builds on the work of previous anthologies, in this one the voices of First Nations, refugee and migrant poets are a deliberate focus. These poems plunge the reader deep into the experience of life in the world, at this moment, in a woman’s body, and explore multitudinous versions of what that can mean.
Edited by Saba Vasefi, Melinda Smith and Yvette Holt
This latest project of ‘authorised theft’ amongst poetic friends sees them raiding the 19th century for inspiration—across a variety of artforms. But C19 here is not just a past century; it is also the terrible present moment in which we live, and in which this remarkable collaborative work has been written.
Care Stop is Sarah Rice’s poetic and photographic reflection on the vagaries of homelessness and the topography of empathy. The book begins with the poem ‘Care Stop’ and is followed by a series of altered images featuring the iconic ACT bus stop shelter. Care Stop is produced in a limited edition, and is proudly supported by artsACT.
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.
What would you do if you looked up and saw that the night sky was darker than usual? That the stars had disappeared, and nobody was doing anything about it?
What do you do when a loved one tells you that their world is darker than usual? That they see no light, and don’t know what to do about it?
Errant Night is an exploration of resilience executed imperfectly. In this sequence of prose poems, Beaumont draws upon the sci-fi wonders of interstellar travel and spaceship mechanics to throw comparative light upon the realities of living with the burden of loss.
‘F-words’ is less expletive, more reconnaissance flight. In this five-year exploratory survey of territory that might include poetry, Malins forays into fables, fauna and flora, family, feminism, faraway and further. Whether in factual, fictive, fabulist or forensic form, Malins is squinting through life’s surface reflections and writing what she glimpses underneath.
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.
In his teens, Ross Donlon had poems published in The Bulletin, Australia’s iconic journal, and in 1965, the literary editor predicted ‘an exciting future’ for the young poet. Donlon’s next poem was published thirty-three years later. In a ‘second budding’ he has had many poems published across Australia and overseas and read at festivals both at home and in Europe. For the Record charts his journey as a poet over five decades, including the Bulletin poems, and the later dark and comic poems for which he has become well-known.
This bilingual Homings and Departures anthology presents the absorbing and compelling poetry of 41 outstanding Australian poets in both English and Mandarin. The anthology is the result of a collaboration between poets, scholars and translators from the China Australia Writing Centre at Curtin University, Western Australia; the International Poetry Studies group at the University of Canberra; and Fudan University in Shanghai. Edited by Lucy Dougan and Paul Hetherington, it reflects the importance of international literary and cultural connections as a way of extending our conceptions of ‘home’ and ‘elsewhere’.
Penny Drysdale invites readers into her home and her transience as her relationship begins to end. It is never easy to get on with your life. I am the glass is window into these tender invisible journeys.
‘A piercing portrait of the many ways we rebuild after loss. I am the glass is the bark stripped away.’
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.
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.
To celebrate Ovid’s 2,000th anniversary, editors and poets Nessa O’Mahony and Paul Munden invited 100 poets to respond to Metamorphoses with new poems that explore the many contemporary resonances in that seminal work.