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y separately published work icon Cordite Poetry Review periodical issue  
Alternative title: Philippines
Issue Details: First known date: 2018... no. 85 1 March 2018 of Cordite est. 1997 Cordite Poetry Review
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AbstractHistoryArchive Description

'To enter the mind of Philippine literature in English, it is important to note the evolution of English in the Philippines. We were colonised by Spain in 1521 and sold to America in 1898. According to eminent Filipino poet and scholar, Gémino Abad, Philippine poetry in English only took flight in the 1920s – it is a considerably young poetry, being less than a hundred years old. At this point, Filipinos spoke so many vernacular languages and even variants of ethno-languages that the establishment of a stable literature in English seemed an unlikely project.' (Mookie Katigbak Lacuesta and Shirley O Lua Editorial introduction)

Notes

  •  Contents indexed selectively.

Contents

* Contents derived from the 2018 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Migration and Melancholia and Settler Discontentment, Angela Serrano , single work criticism

'Filipino-ness is a weight I did not choose to be born with, but I carry on my back every day. As an immigrant to Australia, I am expected to uncritically wave the flag and do my birth country proud with my achievements; be the smiling migrant who hangs out at Australia Day parades, tags oneself on Facebook selfies beneath the Melbourne Central shot tower, lands a full-time office job, acquires property and authentic Louis Vuitton handbags, wears the trappings of aspirational middle-classness with the serenity of one who has ‘made it.’ To be a Filipino whose worth is tied up with her ability to demonstrate her gratitude and usefulness to society and to the narrative of a welcoming white Australia. Because to just be is never enough.' (Introduction)

Phenomenological : Musings on Contemporary Filipino Poetry, Ramon Loyola , single work criticism

'On my frequent trips back to Manila, I often marvel at the range of books and literary material now occupying the shelves of bookstores. There’s the usual fare of fiction thrillers, children’s books, academic and scholarly reference books, and religion-based how-to guides. There’s also a flood of young adult and poetry books.'  (Introduction)

Lucy Van Reviews Merlinda Bobis, Lucy Van , single work essay
— Review of Accidents of Composition Merlinda Bobis , 2017 selected work poetry ;

'Marianne Moore called it ‘courageous attack’:

today, you span the far mountains
with an arm and say,
‘this I offer you —
all this blue sweat
of eucalypt.’

'So begins ‘driving to katoomba’, from the first poetry collection that Merlinda Bobis published in Australia, Summer was a fast train without terminals (Spinifex, 1998). The opening is typical of Bobis’s inimitable gusto and extravagance: the lines follow the gesture of the body that reaches for a view, simultaneously craving and offering the world while delighting in the knowledge that both impulses remain unfulfilled.'  (Introduction)

Review Short : Ken Bolton’s Lonnie’s Lament: Towards a History of the Vanishing Present, Nathanael Pree , single work essay
Review Short : Kate Middleton’s Passage, James Jiang , single work essay

'In the prefatory poem titled ‘Lyric’, Kate Middleton writes of ‘Voices torn, / pieced, re-sewn’, a phrase that neatly captures the allusive texture and patchwork procedures of her third collection Passage. The volume is replete with centos and erasures, that is to say, modes of vicarious composition that sing ‘by song’s own mesh of I/ of we’. Its keynote is perhaps provided by that innocuous preposition ‘after’ which occurs in the subtitle to so many of the poems (‘Lyric’ is itself ‘after Dan Beachy-Quick’ and begins with a quotation from his 2008 essay collection, A Whaler’s Dictionary). For Middleton is above all a poet of second sight, of the revisionary afterimage; a connoisseur of the residual intimacies that survive in photographs and paintings, the recesses of the body, and the ruins of a landscape.' (Introduction)

Dashiell Moore Reviews Lionel Fogarty, Dashiell Moore , single work essay

'To begin this review, I would like to make the most important of declarations and acknowledge the Gadigal people of the Eora Nation as the traditional owners of the land on which this review was written; and would like to thank Narungga scholar, writer and poet Natalie Harkin for having assisted in the editorial process. I would also like to acknowledge and pay respects to Lionel Fogarty, the Yoogum language group from South Brisbane, and the Kidjela people of North Queensland, whose inestimable linguistic, cultural and spiritual legacy is clear in Lionel Fogarty Selected Poems 1980-2017.'  (Introduction)

Kishore Ryan Reviews Lachlan Brown, Kishore Ryan , single work essay

'‘Toward dusk,’ writes Brown in the book’s penultimate poem, ‘when the sky is passport blue, / you return via the National Performing Arts Centre, / its vast half-egg reflected in the stirring water.’ This poem, ‘Blank face double vision’, is reminiscent in certain ways of Lorca’s Poet in New York. Both Brown and Lorca use the phrase ‘blank face’ as well as the word ‘egg’. Also, both Brown’s poem and Lorca’s ‘After a Walk’ – like Lunar Inheritance and Poet in New York in general – evoke a sense of alienation within an anonymous, urbanised environment. Whereas Brown’s ‘half-egg’ is a realist description of the National Performing Arts Centre in Beijing, Lorca’s ‘egg’ is a surrealist image of anonymity: ‘With the amputated tree that doesn’t sing / and the child with the blank face of an egg.’ Lorca’s portrayal of a nature-less conurbation is, in many ways, somewhat more unsettling than Brown’s depiction of metropolitan China, but both books are similarly formed around a poet’s wanderings through foreign cityscapes.' (Introduction)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 23 Mar 2018 09:26:51
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