A Journal of Australian & International Cultural Reviews, News and Criticism.
Ray Liversidge is a poet based in southwest Victoria. His latest book is Riverside: New & Selected Work 2003-2025 published by Interactive Publications. His other books are: …of a sudden; Oradour-sur-Glane; no suspicious circumstances: portraits of poets (dead); The Barrier Range; Triptych Poets: Issue One; The Divorce Papers; Obeying the Call.
In agreeing to launch A Blink of Time’s Eye I feel very daunted, very nervous, as to whether I can live up to the faith that David has placed in me, and I hope I can give this moment the touch of both lightness and gravitas that characterises his poetry.
Rochford Street Review will once again be producing a Bloomsday Supplement for Bloomsday 2026. This year we are calling for submissions of all things Joycean for consideration. So if you have a Joyce (or Dublin) related poem, short story, artwork or whatever we would love to see it!
Elizabeth Walton is an emerging literary writer and a musician whose work concentrates on environmental and social justice. She has been listed in many national literature awards including the Tom Collins and June Shenfield poetry prizes. A finalist in the Furphy and Woollahra Digital Literary Awards, the AAWP and Ros Spencer poetry prizes, Elizabeth has recently been in residency at the Wollongong Botanic Gardens and Bundanon.
Glen Hunting is currently based in Mparntwe, Arrernte Country (Alice Springs, NT). He writes about estrangement and (be)longing, cultural culpability, (en)gendered notions of bodies and behaviour, and the difficulty of recognising truth in the age of mass misinformation.
Then this morning a received a notification from Facebook saying that the Rae Desmond Jones ad had been rejected as it was too political and didn’t apply with their “policy about social issues, elections or political policy”.
The Twilight Observatory demands of a reader the willingness to take risks, to engage with matters beyond traditional borders. This challenge is something not everyone has the ovarios for. But hers is not cryptic poetry and nor is it self-indulgent.
Five works from Philip Hammial’s 2015 publication ‘Sculpture’ (Island Press Co-operative).
what happens when the visual qualities of text become totally dissociated from any pre-learned way of reading? What can we infer from a script that has no recognisable form? And what should we make of the intent of an author/artist who deliberately creates marks structurally akin to writing but with no discernible underlying meaning? How can unintelligibility be construed as a positive feature of a piece of visually displayed text?