A Journal of Australian & International Cultural Reviews, News and Criticism.
Grant Bellamy is an emerging artist working on the unceded land of the Gadigal people of the Eora Nation, Sydney. He is a recent graduate of the National Art School where he obtained his Bachelor of Fine Art majoring in painting. Bellamy primarily works in oil paint with a focus on the figure.
Gayelene Carbis is an Australian-Irish-Cornish-Chinese writer of poetry, prose, short film, and plays. Gayelene’s second book of poetry, I Have Decided to Remain Vertical (Puncher and Wattmann) was recently Finalist, International Best Book Awards 2023 (U.S.) and Finalist, Poetry Book Awards 2023 (U.K.).
This book is a representation of various women in the visual sense of being portraits but also a representation of their lives and works. And it’s a representation of Dina’s feminist take on the world: to a large extent, it’s a representation of Dina’s immediate world.
These poems operate in media res, where the writer addresses the reader and engages us in the midst of a flow of ideas and feelings which have begun prior to our arrival, a continuous discourse with that world.
Poetry Sydney is thrilled to be host of seed spin everywhere in celebration of World Poetry Day, as recognised by UNESCO (1999) to honour poets, revive oral traditions of poetry recitals, promote the reading, writing and teaching of poetry, foster the convergence between poetry and other arts and raise the visibility of poetry in the media.
Denise O’Hagan is a Sydney-based editor and poet with a background in commercial book publishing. Her poetry is widely published and awarded, including in the Dalkey Poetry Prize (first place), the International Proverse Poetry Prize (second place), the Australian Catholic University Poetry Prize, the New Zealand Poetry Society International Poetry Competition and the Welsh Poetry Competition (high commendations).
Gazebo Books 2023.
Natalie Damjanovich-Napoleon writes poetry from and about the female body.
Her opening collection, First Blood was a gritty exploration of girlhood that challenged cultural expectations of ideal femininity. Her second collection If There is a Butterfly continues to centre female bodily experience, taking pregnancy, birth, and motherhood into her orbit.
And it was then that Gabrielle began to teach me how to read Finnegans Wake: in a group, reading aloud, going very slowly, line by line, everyone pitching in suggestions and ideas, without too much concern for what might be right or wrong, sense or nonsense, just taking pleasure in the beauty and the strangeness and the glorious and often hilarious inventiveness of the language.
Rochford Street Review 