The emerging writers whose stories grace this collection engage in the play of symbolic action and detail, capturing sadness and imperfection through an apprehended fictional world—an abstracted reality. The stories resonate because they are intensely focused upon very particular forms of enquiry: Why do the characters see what they see? How do they know what they know? Perhaps it is this—the focus upon a very particular form of sensory apprehension—that lies at the heart of short stories that resonate beyond the final lines of text.
In Our Tongues Are Songs, Rico Craig pursues the intimate, the voices people use as they speak to their private fears. Craig brings his unique ear for lyricism, his eye for human need, to bear on the promises people make to themselves as they attempt to find solace, companionship and meaning. His haunting use of image fills the day-to-day world with the uncanny — bats are comforted by children, old women weep tattoos, the earth burns, television stars comfort teenagers as they struggle with anorexia, encroaching sands spill the dead into an unnamed city. This book spans voices, generations and countries; it sides with the young and old as they try to carve their humanity from the swirls of despair.
‘These poems of bone, sky, night and earth pulse with danger and exaltation. Selves spectral, imagined and embodied dissolve the solitary ‘I’ to imagine flocks of selves, dancing with knives in their hands, standing on rooftops, never forgetting what it is to be at our wildest. They overflow with loosened energy, yet their crafting is meticulous, brilliant and exact.’ Felicity Plunkett
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 new volume from Penelope Layland absorbingly quizzes memory, while questioning our apprehension of time and the importance of deep human connections. These poems explore mourning and loss in a way that is salutary, affirmative, meditative and uplifting, subtly refracting our common understandings and our claims on knowledge. In these works the ghosted quotidian, like a long filigree of light, reaches out to remind us of what we value and care for.
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.
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.
Intellectually ambitious and culturally engaged, these poems speak of Sartre, Zola and Jackson Pollock, of Western Australia’s firewatch trees and Dubbo’s gibbons, of the poet-batsman Stevie Smith, of youth and age. Ranging in form, James Lucas’s poems ask to be reread rather than assented to, and are written in the belief that poetry is both solvent and fresh lick of paint.
‘James Lucas’s poems explode with brilliance, warmth and music’— Stuart Barnes
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.’
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.
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.
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.
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.
In this debut collection, Judith Wright Poetry Prize winner, K A Nelson surveys a life lived in inland Australia. Inlandia traces the inner self, recording discoveries as she feels the place out and comes to an understanding of what ‘place’ means. Nelson’s direct poetry makes us think again about what keeps us returning, physically and in memory, to the terrains and people who occupy our shared history.
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.
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.