My father standing at the doorway with a phlegmy cough in the damp basement flat, his gaze a despair, resignation, I fear before the rite of knowing. I take the …. This wry poem by Pan Zijie addresses language and human bodies as mobilised subjects. An Australian-born Chinese poet, Zijie has written in relative obscurity since publishing his first book, Vostok. Reading his striking collection Beijing Spring , published in by Maninriver Press, I wonder why I am not familiar with his work. His first collection received positive imprimaturs from David Brooks, Marcelle Freiman and Michael Wilding but I could find not a single review.
She writes poetry, fiction and essays. Sudeep Sen and Ciaran Carson. In this light, everything is polarised. The sea spills dark letters, a …. A sparrow falls by providence, and the evening sky is smeared indigo.
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Interview with Prithvi Varatharajan in Cordite. By forcing hard linguistic choices on a poet, poetic form frees language forces it, even to perform the more than merely functional work we need it to perform: recasting trauma, transfiguring pain, unseating banality, throwing soft bombs. Cahill pulls off these feats of language across an array of poetic forms of varying lengths: tercets, quatrains, prose poems, and free verse. Her collection is visually, as well as linguistically and sonically, satisfying. Many of the poems are philosophical pastiches, urban remixes of old stories. They are ironic, erotic, and erudite. These poems muffle their confessions.
Michelle Cahill is a Goan-Anglo-Indian writer. She spent her childhood in Kenya and the United Kingdom before migrating to Australia. A Sydney resident, she graduated from the University of Sydney in Medicine and has worked as a part-time General Practitioner. In addition to works individually indexed on AustLit, Michelle Cahill has also published the following:. Like the poet Fernando Pessoa, who gives the collection its title, and who created as many as seventy versions of himself, Cahill displays a remarkable inventiveness, making distant landscapes and situations come alive, in compelling detail, as they express the fear and longing, obsession and outrage, of the people caught up in them.