Nathan Shepherdson’s new collection, parallel equators is a book in five sections, under the five vowels, and through the five apparatus of one hand. It attempts to return its messages to a sender (or senders) locked somewhere in a haze of accidental truths. Words travel at irregular pace on a walking tour through a dissociative alphabet of concepts and images. Fingernails, silence, glass, leaves, eyelids, absence, lungs, and full stops all become entangled as ‘body types’ in this idiosyncratic language. Patterns repeat the self. Transcriptions of conversations between elegy and memory possess a natural cadence that counts out the oxygen molecules in life’s strange abacus.
Shepherdson’s poems are snap-fingered mosaics, dry ingredients holding their breath, so as not to sink, as they unexpectedly set on wet paper surfaces. Is Shepherdson a well-grounded, metaphoric-driven pragmatist, or a quiet, well-meaning fantasist, who wanders off each day, towel in hand, to meet Heraclitus for an afternoon swim?
Get all fifteen of our new poetry collections released as they are released 2023
Featuring new work by:
April Nathan Shepherson, Sandra Renew May Ally Chua, Alvin Pang & George Szirtes June Erin Shiel, Owen Bullock July K A Nelson, Martin Dolan September Es Foong, Brendan Ryan, Thabani Tshuma October Jennifer Allen, Brent Cantwell November Jen Webb, Kerry Greer
In these prose poem sequences, five different tastes are explored, not only with reference to food and drink,but also through their metaphorical use. There are innumerable ways of ‘tasting’ and apprehending theworld, and these poems canvass a wide range of them while also encouraging readers to consider their own diverse tastes, preferences and experiences.
In Bed with Animals is a personal poetic exploration of the horror and banality in one woman’s lived experience of gender discrimination. It examines the contemporary world through an ecofeminist lens and considers the way that women, the environment, and animals suffer exploitation. This incendiary debut collection unsettles with its heartfelt ferocity.
In 1778, Dorothy Wordsworth’s mother died, and the six-year-old Dorothy was sent to live with extended family. She never returned to the family home, and it was not until adolescence that Dorothy became reacquainted with her brother William. The two formed an intense and passionate emotional bond. By 1794 they were living together from that time would rarely be physically separated for more than a few weeks at a time, for the rest of their lives.
Written in the voice of Dorothy, Beloved traces the progression of their relationship, from the ecstatic infatuation of youth onwards, drawing upon Dorothy’s diaries and letters as well as the recollections of friends and family members and literary and biographical scholarship.
In his first full-length poetry collection, Natural Philosophies, Michael J. Leach grasps for truth and solace by embracing interdisciplinary perspectives and alternative meanings. The poems in this collection address the archaic term ‘natural philosophy’—the philosophical study of nature and the universe—in past, present, and future contexts through the lenses of various natural science disciplines, including botany, zoology, astronomy, chemistry, and medicine. Michael explores a range of urgent personal and public issues, from climate change, extinction, and post-truth logic to assisted dying, natural death, and COVID-19, all the while pinpointing much-needed beauty across physical, emotional, and spiritual domains of existence.
Like much else that finds its way onto the internet, the poetry in ‘I saw the best memes of my generation’is fleeting, reactionary and selective with its facts—only ever tangentially concerned with the ‘real’ world. Somehow this book skewers SS utes, flower arrangement, the antiquated forms of Italian Opera, the emerging politics of the climate crisis and the misogynist underbelly of rock and roll with one flukey shot of an arrow. This much anticipated debut collection pins Symes’ viral poems down like delicate butterflies for the pleasure of your eighteenth century drawing room.
The contributions to ACE III are diverse in form and theme. As a composite picture the collection represents an expansive vision for short-form writing. We include work by authors from diverse cultural and geographical locations, including – Australia: Gadigal Country, Dharawal Country, Wodi Wodi Country, Wurundjeri land, Naarm, Jinibara Country, Whadjuk Country, Turrbal & Yuggera land, Ngunnawal Country, as well as Dallas (USA), Mexico City, Greece, Norway, Tbilisi: Georgia, NYC, Chennai: India, Singapore, and Saudi Arabia.
The authors examine the conundrum and contradiction of human experience through carefully crafted detail. The brevity of short-form writing makes it an apt vessel for capturing the haunting incompleteness of human experience. Through flash and traditional length short stories, creative nonfiction, memoir, and hybrid forms, there is a compelling ebb and tow of ideas, as focalised through highly idiosyncratic registers. The authors cultivate narrative detail with intuitive hands and minds, fashioning abstracted realities that linger well beyond the final lines of the text. The contributions leave the reader reeling, asking how it is possible that story-work can enter our affect cycle as if it were lived experience.
True to its title, the poems in O’Hagan’s second poetry collection, Anamnesis, allude to a world hovering at the edges of our minds, one that can be sensed and yet lies, teasingly, just beyond conscious reach. The arc of poems through time and distance represents a summoning up of, and immersion in, small moments which reveal themselves to be quietly momentous; a distillation of personal experience from which we feel there is something to be collectively gleaned. The recovery of memory in its various facets is explored, and the poetry that emerges is both poignant and lyrical.
Finalist in the Eric Hoffer Book Award (US) (Poetry Category), 2023.
Shortlisted in the Rubery Book Award (UK) (Poetry Category), 2023’
Via numerous portrait poems of real and fictitious people revealed in Our Ways On Earth Peter Bakowski returns our attention to the individual. Via clear, non-judgemental portraiture Our Ways On Earth saves, for our consideration, individuals who might otherwise be buried, lost to us, under a slag heap of statistics, demographics and generalisation.
Whether in the Venetian footsteps of Vivaldi, at the birth of the Owen and Sassoon violins or the score of a Sam Peckinpah film, these poems present a wealth of musical scenarios, all interconnected in their themes, tonality and form. Their reverberations reach across time and space, from England and Italy to the Australian outback, with the visual arts also in the mix. And yet the core of this book is deeply personal, the poet present as a ten-year-old boy, lover, grandfather – or anachronistic witness – at the various trials of life through which creativity and even humour somehow flourishes.
Ragged Disclosures is a prose poetry collection that investigates liminality, intersubjectivity and the prose poetic sequence. These sequences combine to create a complex and distributed depiction of an intimate relationship during the COVID-19 pandemic in this era of climate change and political instability. As the volume considers the protagonists’ diverse experiences, it explores the development of connected poetic tropes while highlighting tensions between prose poetry’s compression and the countervailing tendency for sequential works to present an unfolding narrative arc. The inherent raggedness of the narrative gestures, combined with prose poetry’s condensed and suggestive boxes, is playful, contemporary and quintessentially poetic.