'It was a great privilege, if a little overwhelming (I had about 1,800 poems to read), to edit this edition of Cordite Poetry Review and, as it is not themed, I had the luxury of choosing poems on various subjects. I have tried to make the issue varied but also unified by my aesthetic principles. I am one of those poets who believe aesthetics are important, that an over-heated experimental or exploratory approach, or a poetics that privileges linguistic flux over emotional stability or response, can take us away from the deep connection that language has with the body. This is one reason why I have an affection for the lyric, and I do not hold to the assumption that the poet does not exist, or that the movement inwards, towards subjectivity, is innately problematic. From the body we get idiosyncrasies of rhythm, music, voice, sensual knowledge, syntactical deportment, emotion and ideas. No-one who writes a poem is ever disembodied, though sometimes it can seem as if they are, given the overabundance of abstraction and linguistic imprecision that occurred in many of the poems I read for this issue.' (Judith Beveridge : Editorial introduction)
Only literary material by Australian authors individually indexed. Other material in this issue includes:
Private David Jones's In Parenthesis and The Anathemata by Peter Salmon
Dissecting the Apocalypse: Jorie Graham’s Sea Change by Caroline Williamson
Two Translated Borys Humenyuk Poems by Oksana Maksymchuk and Kevin Vaughn
Two Translated Nadia Anjuman Poems by Farzana Marie
Ainslie Templeton Interviews Christopher (Loma) Soto
Autumn Royal Interviews Cecilia Vicuña
'Truck & Trailer Approaching a City' by Louis Armand
'Requiem for a War, with Refrain' by Siobhan Harvey
'Yet' by Matt Prater
'What am I doing?
'Writing while crip is complicated.
'Not the act itself, not always. My hands work most of the time, and I have access to screen readers and dictation software. But writing crip is messy and awkward and bodied and mine, because no ‘experience of disability is universal’ (Kafer 2013, 34), no matter how much anyone wants it to be.' (Introduction)
'Alexis Lateef’s ‘Procedure’ draws on the conventions of Confessional poetry by women in English – particularly on the influential work of Sylvia Plath and Anne Sexton – to make a creative statement resisting the masculinist imposition of clinical discourses to the raw subjective experience at the centre of this poem: the speaker’s abortion, and its visceral consequences for her rage, guilt, hurt, and defiance.' (Introduction)