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Australian Poetry

Three bluetongues reside in our steep bush garden
of sandstone ledges and the stumps of fallen trees.
One is content to doze under a rock while around her
everyone chatters; one lost the pointy end of its tail

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The latest edition of this exclusively online poetry journal has no theme, but Cordite’s managing editor, Kent MacCarter, makes a virtue of its lack of subject. He builds the edition around a chapbook he has collated that is called ‘Spoon bending’, arguing around and against the proposition that ‘There’s no such thing as a good poem about nothing’, and opening with a splendidly effervescent argument in favour of hybridisation and play in poetry.

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My first encounter with concrete poetry came via Apollinaire’s Calligrammes (1918), specifically his eye-catching poem ‘Il Pleut’. With its gently cascading words falling down the page, it was immediately clear that the typographic arrangement of the poem was of far greater import than its semantic content.

Although the term was not coined until the 1950s, concrete poetry draws upon traditions as diverse as ancient Greek shaped poems, Lewis Carroll’s ‘The Mouse’s Tale’, and the typographic experiments found in early twentieth-century Dada and Futurist publications. Despite this, concrete poetry has historically fallen between the cracks of various critical discourses. Is it art or is it poetry?

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The springing point was where they took off from,
where the impost, set on good footings,
joined the arch and assured its leap and span
of water’s being there yet flowing on.

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Nothing is whiter,
like clouds with the sun inside them.
Nothing is smoother,
like clouds and the moon beside them.

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I was reading a poem in that upstairs sunlit room
when I looked up and thought I saw you, Harry,
standing beside the window across from the apartment
where laundry hung outside like a fireman’s ladder snaking

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Personal Weather by Peter Bakowski

by
May 2014, no. 361

Personal Weather is Peter Bakowski’s seventh collection, yet he remains impossible to categorise. His is a distant relative of Ken Bolton’s conversational style, while also a close cousin to central European poetry. His poems can be three-page narratives or urbanised haiku. Above all, Bakowski is a poet of wonder – wonder at the contradictions and complexity of life as it passes him by. He is also very personal, both in his use of the autobiographical ‘I’ and in his idiosyncratic takes on more objective material.

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What you say
about poetry
could very well
be stone-
cold factual

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Now you have seen the elephant and heard
from an ex-student who blogs an elegy
to his lost left leg (his transfemoral amputation),
and a friend (you visit him in emergency)

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Melbourne often seems an indeterminate place, with one flat suburb leaching into another. Writers tend to use place as local colour, the places themselves having little to say, in most cases. Kevin Brophy is an exception, and, especially in this ‘new and selected’ collection, a revelatory one. John Leonard have done great work in putting so many of Brophy’s poems back into print, alongside new work. (For typography buffs, ‘Walking,’ also has a superb cover, looking at which has exactly the same effect as reading the poetry.)

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