A Journal of Australian & International Cultural Reviews, News and Criticism.
Mal McKimmie is the author of 3 poetry collections, the most recent being At the Foot of the Mountain (Puncher & Wattmann, 2021). His second book, The Brokenness Sonnets I-III & Other Poems (Five Islands Press, 2011), won the 2012 Age Poetry Book of the Year award.
McKimmie uses pigments, salvaged materials and metal-point to create paintings that are psychological landscapes of genuine abstraction, and they have been created slowly with a focus on mark making, and the object as lasting artefact in mind and place.
Lisa McKimmie is a visual artist living and working in Sydney, on unceded land traditionally owned by the Gadigal people of the Eora Nation. She is primarily a painter with a studied emphasis on sustainability in all aspects of art practice, and her most recent solo exhibition was at Flinders Street Gallery, Surry Hills, in May 2023.
How do feminist activism and poetry come together? Through knowing the world’s cruelty, through acting against it, through writing it into you and out of you, so that there is no doubt that both love and hopelessness ride together.
Rapatahana’s focus rests heavily on language – he argues it can be an oppressor and a liberator. Language matters.
An Arts graduate of the University of Melbourne, Barbara Boyd-Anderson’s love of poetry began in earnest with Dinny O’Hearn, her tutor in English, who led the way with his passion for Yeats, Irish poetry and literature. Over many years Barbara has been involved in teaching literature, poetry and media studies at high school and tertiary level. IShe was a founding member of Media Education in Melbourne, and she subsequently worked as a writer director of short films and a feature film, The Still Point. Barbara now lives on the Gold Coast, blending her love of poetry with coastal photography.
Janet Reinhardt is a Sydney poet whose work has appeared in journals and anthologies throughout Australia as well as in the U.S. and the U.K.
One way of distinguishing the short prose poems of Dominique Hecq’s Endgame with No Ending from, say, flash fiction, would be to argue that while flash fiction’s centre of gravity is narrative, for these prose poems, the centre of gravity is language (or writing) itself. This is not to say that Hecq’s poems are just ‘writing about writing’, but that they address or encompass the materialities of language, textuality, and the conditions of possibility for writing.
Rochford Street Review 