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.
The Incompleteness Book is the result of a call for contributions to the theme: the incompleteness of human experience. The call was distributed in April 2020, amidst the global pandemic of COVID-19. The collection takes an interest in the relationship between the haunting incompleteness of human experience and short form writing. This, together with the unforeseen challenges of COVID-19, as well as the lure of coming together as writers, is the impetus for the book. The submissions are aimed at capturing our individual and collective experience as a composite picture. The contributions were collected in just nine days.
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.
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.
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.
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.
Man-handled, Melinda Smith’s seventh poetry collection, includes the found-text chapbook Listen, bitch plus new work from the last three years. Its central concern is gendered violence, both verbal and physical. These poems also extend their gaze to violences perpetrated in the names of colonialism, nationalism and capitalism. While this is Smith’s angriest book, it still takes time to celebrate moments of connection and wonder.
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.
From the epic of Gilgamesh to the laws of thermodynamics, from Rimbaud in Paris to unheard voices of literature, Sleeping Dogs is a visceral and often acerbic collection marked by Martin Dolan’s taut, undeniable lines and precise, crystalline language.
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.
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..
Gladland is a poetic tale of what heartbreak can and can’t do to a modern woman. Set to a 1970s psychosonic soundtrack, and staged in various cities from Detroit to Rome and Perth, these poems are glamrock operettas of everyday life, well-versed in its romantic absurdities and glories.
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.