{"title":"Award-winning and shortlisted collections","description":"","products":[{"product_id":"peter-boyle-apocrypha-texts-collected-and-translated-by-william-o-shaunessy","title":"Peter Boyle, Apocrypha: Texts Collected and Translated by William O’Shaunessy","description":"\u003cp\u003e\u003cstrong\u003e2010 ACT Judith Wright Poetry Award - Winner\u003cbr\u003e 2010 QLD Premier’s Award for Poetry - Winner\u003cbr\u003e 2011 ALS Gold Medal shortlist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e“In \u003cem\u003eApocrypha\u003c\/em\u003e, Peter Boyle retrieves the luminous classical landscape that is the birthplace of Western civilisation and the Western psyche. Setting out to find the discarded or forbidden parts of this landscape, his search brings to light a forgotten but distinctly classical undercurrent of animism, of a piece, in its intellectual lucidity and precision, with classical science and philosophy. In the retrieved fragments of William O’Shaunessy’s “translations”, the outer world of poplars, ibis, windmills, commerce and political vagary interflows seamlessly with inner worlds of sorrow, anguish, love and loss to create a sparkling wholeness of meaning and matter that seems utterly lost to the West today. In a way that perhaps only a poet can, however, Boyle shows that this wholeness can be now, as it always was, our own.” Freya Mathews\u003c\/p\u003e\n\u003cp\u003e“It’s hard to think of a more ambitious book of poetry in this country, at least recently.”  Martin Duwell\u003c\/p\u003e\n\u003cp\u003ePeter Boyle lives in Sydney. He has published five books of poetry as well as three books as a translator of French and Spanish poetry. His most recent book \u003cem\u003eApocrypha \u003c\/em\u003ewon the Queensland Premier’s Prize and the Arts ACT Judith Wright Prize and was shortlisted for the Australian Literary Society’s Gold Medal. His translation of Cuban poet José Kozer’s \u003cem\u003eAnima\u003c\/em\u003e was released by Shearsman Press in 2011.\u003c\/p\u003e\n\u003cp\u003e292pp. 2009. ISBN 978-0-9805113-3-8\u003c\/p\u003e\n\u003cp\u003e292pp. 2016 (second edition) ISBN 978-1-922181-89-3 \u003ciframe style=\"width: 550px; height: 350px;\" src=\"https:\/\/online.anyflip.com\/wuapt\/lvwm\/index.html\" seamless=\"seamless\" scrolling=\"no\" allowtransparency=\"true\" allowfullscreen=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240975631,"sku":"","price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/9780980511338-_Boyle_Apocrypha_front_cover.jpg?v=1462068637"},{"product_id":"chris-edwards-people-of-earth","title":"Chris Edwards, People of Earth","description":"\u003cp\u003e\u003cstrong\u003eShort-listed for the ALS Gold Medal 2012. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eChris Edwards’ first full-length collection, \u003cem\u003ePeople of Earth\u003c\/em\u003e (2011) brings together the bulk of his previous Vagabond chapbooks plus a wealth of newer material, including \u003cem\u003eA Fluke\u003c\/em\u003e, his mistranslation of Stéphane Mallarmé’s \u003cem\u003eUn Coup de dés\u003c\/em\u003e, and the first movement of \u003cem\u003eSonata for O\u003c\/em\u003e, his “rendition” of Rainer Maria Rilke’s \u003cem\u003eSonnets to Orpheus\u003c\/em\u003e. The book’s concluding section, “Aha!”, incorporates scanned material and Egyptian hieroglyphs in what Stuart Cooke (writing in \u003cem\u003eSoutherly\u003c\/em\u003e) called “remarkable fissions of image, sign and signification” operating “at the intersection of non-verbal and verbal sounds, pictorial and alphabetic signs, and of ‘primitive’ and modern poetries.”\u003c\/p\u003e\n\u003cp\u003e“However much Edwards avoids the traditional role of the poet, he doesn’t really do away with being referential, with a sense of the real world. Instead, he uncovers its utter strangeness … ”  (David McCooey, \u003cem\u003eAustralian Book Review\u003c\/em\u003e)\u003c\/p\u003e\n\u003cp\u003eChris Edwards lives in Sydney, Australia, where he works as a freelance editor, typographer and graphic designer.\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cp\u003e2011. 188pp. ISBN 978-0-9805113-7-6\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/puex\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240975903,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/chris_edwards_people_of_earth.jpg?v=1347950914"},{"product_id":"elizabeth-allen-body-language","title":"Elizabeth Allen, Body Language","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWinner of the 2012 Anne Elder Award for Best First Collection of Australian Poetry.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBody Language\u003c\/em\u003e is a strong debut collection. Rather than heralding the sudden arrival of an exciting new voice in Australian poetry this book represents a voice that has been there for some time but is only just now confident enough to speak up and make itself heard, for Allen has been a silent participant and observer in the Australian poetry scene for some time. Here she writes about everyday experiences – doing a crossword, studying a bunch of flowers, watching a bird out the window – as they are refracted through the prism of the poet’s mind with all its obsessions, anxieties and peculiar sensitivities. Allen writes about grief and how we repeatedly make sense of absence, with moving accuracy. Her poetry is mindful and grounded in the body, but it also goes off on unusual imaginative tangents. These poems take us from Sydney to Italy, from the psychiatrist’s office to the hairdresser’s; there is sex, love, and friendship, and even Kate Moss makes an appearance. Allen’s poems are concerned with emotional rather than factual accuracy.\u003c\/p\u003e\n\u003cp\u003e“Elizabeth Allen is a poet who impresses with her ability to gain meaning from the most subtle contingencies of life. Sensitive, understated and intense, lyrical but grounded, this is a strong and assured collection.”\u003c\/p\u003e\n\u003cp\u003eAdam Aitken\u003c\/p\u003e\n\u003cp\u003e“The poems in Elizabeth Allen’s Body Language explore notions of identity and selfhood inflected by the knowledge and reality of death, that great leveller. They are also meditations on loss and acceptance, the joys of daily life. I am impressed by the risks she takes—being true to the experience but, most importantly, remaining true to the materiality of the poem itself. Quietly, and in her own time, Allen has become a poet, a poet of the body but also of the heart.”\u003c\/p\u003e\n\u003cp\u003eNicolette Stasko\u003c\/p\u003e\n\u003cp\u003eReviews\u003c\/p\u003e\n\u003cp class=\"entry-title\"\u003eSavouring the Undertow: Mark Roberts reviews ‘Body Language’ by Elizabeth Allen on \u003ca href=\"http:\/\/rochfordstreetreview.com\/2012\/11\/27\/savouring-the-undertow-mark-roberts-reviews-body-language-by-elizabeth-allen\/\"\u003eRochford Street Review\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eElizabeth Allen\u003c\/strong\u003e’s poetry has appeared in many major literary journals and anthologies. She is the author of a chapbook, \u003cem\u003eForgetful Hands \u003c\/em\u003e(Vagabond Press, 2005), and a full-length collection, \u003cem\u003e\u003cspan\u003eBody Language\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (Vagabond Press, 2012)\u003c\/span\u003e, which won the Anne Elder Award. She has run poetry workshops for adults and children through Number Forty Seven gallery and The Red Room Company’s National Poetry Education Program. Elizabeth Allen lives in Sydney where she currently works as the events manager at Gleebooks, and was one of the judges of the inaugural Noel Rowe Poetry Award. She will be a writer-in-residence at the Arteles Creative Centre in Finland for two months during 2016.\u003c\/p\u003e\nElizabeth Allen,\u003cem\u003e Body Language\u003c\/em\u003e\u003cbr\u003e2012. 76 pages. ISBN\u003cspan\u003e 0980511321\u003c\/span\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/iyyw\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240976605,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/allen_bodylanguage_cover_front.jpg?v=1347951296"},{"product_id":"jessica-l-wilkinson-marionette-a-biography-of-miss-marion-davies","title":"Jessica L. Wilkinson, marionette: a biography of miss marion davies","description":"\u003cp\u003e\u003cem\u003eSHORTLISTED FOR THE 2014 NSW PREMIER'S LITERARY AWARD\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003emarionette\u003c\/em\u003e is a poetic biography of early cinema actress Marion Davies, who lived the prime of her life under the careful gaze of her lover of more than thirty years, William Randolph Hearst. Being involved with such a powerful man was bound to have its cost; Marion’s story is marked by whispers, gossip, rumors, lies, and plot holes. This biography is an attempt to reanimate one of the 20\u003csup\u003eth\u003c\/sup\u003e century’s most enigmatic and charitable figures in a manner befitting her playful and mischievous character.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIn this virtuoso production, Jessica L Wilkinson entrancingly induces one of Hollywood’s forgotten figures, actress Marion Davies, to “step onto the page\/and off again”. With precursors in Muriel Rukeyser and Susan Howe, Wilkinson’s work is at the forefront of feminist documentary poetics. Her words soar and hum across the blank space, creatively transforming traces of and desire for Davies’ person through a screen of persuasion, tenderness, and intensity.  Wilkinson’s poetry teases and provokes the reader to join her in a deeply rich affective and critical adventure into the “Impossible”.  marionette will resonate for many years to come and heralds one of the most exciting new voices to poetry’s global stage.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eAnn Vickery\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThis biographical doll biography is a model of extraction and the unsettled page. Wilkinson’s foray is a tense meditation that denies the marginality of a human life: every one deserves more than a sober prosaic column. Wilkinson’s pages aren't static but buzz like a thousand Susan Howeflies awakening to a kiss.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eMichael Farrell\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIt’s an unlikely obsession for a young Australian poet-scholar: the life and career of Marion Davies, a U.S. film star infamous for her long affair with publishing tycoon William Randolph Hearst. The reasons for the attraction, though, flicker through these formally inventive pages like the beam of a movie projector. Davies is a mystery to be solved; a woman of great talent and ambition bound to a controlling older man; and a survivor of an era-defining shift from silent film to talkies. Her vibrant comic performances ultimately escape Hearst’s puppetry. Wilkinson’s poetry mirrors not only Davies’ struggles but also her intelligence, intensity, and defiance. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eLesley Wheeler\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eJessica L. Wilkinson\u003c\/strong\u003e lives and writes in Melbourne, Australia. Her poems have appeared internationally in journals, books and newspapers. She is the founding editor of \u003cem\u003eRabbit: a journal for non-fiction poetry\u003c\/em\u003e. In 2011 she gained her PhD in Creative Writing and Literature through the University of Melbourne, and she currently lectures in Creative and Professional Writing at RMIT University.\u003c\/p\u003e\n\u003cp\u003eJessica L. Wilkinson, \u003cem\u003emarionette: a biography of miss marion davies\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e112pp. 2012. ISBN 978 1 922181 03 9\u003c\/p\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/rjla\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240978257,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/marionettecoverfinal.jpg?v=1347951995"},{"product_id":"lionel-fogarty-mogwie-idan-stories-of-the-land","title":"Lionel Fogarty, Mogwie Idan: Stories of the land","description":"\u003cstrong\u003eWinner of the 2015 Kate Challis RAKA Award\u003c\/strong\u003e\n\u003cp\u003e\u003cstrong\u003eShortlisted for the 2014 Victorian Premier’s Literary Award for Indigenous Writing.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLionel Fogarty is Australia’s foremost experimental and political poet. \u003cem\u003eMOGWIE-IDAN: Stories of the land\u003c\/em\u003e brings together work from across Fogarty’s career, including poems from the 2012 Scanlon Award-winning \u003cem\u003eConnection Requital\u003c\/em\u003e, which the judges noted ‘demands that you move out of your comfort zone and encounter, grapple with, and be open to, the power of his words and the way they are placed on the page and the way their rhythms embody the knotty issues you are being pressed to countenance, accommodate and if possible resolve – or at least come to terms with somewhere in your psyche. This is no easy ride – and Fogarty takes no prisoners.’\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eMOGWIE-IDAN: Stories of the land\u003c\/em\u003e showcases the intelligence of the Aboriginal grassroots struggle in contemporary Australia, laying open the realness of Lionel Fogarty’s Murri mission poetry. The Aboriginal struggle in Australia is not over, but here handed to the next generations to promote their strength. Biame guide! Biame bless!\u003c\/p\u003e\n\u003cp\u003e‘A most prolific Aboriginal poet, Lionel Fogarty continues to write with powerful passion about issues close to his heart: injustice, land rights, identity, language, black deaths in custody and the ongoing consequences of colonization. Lionel’s writing focuses on his need to face a future without oppression and he demonstrates a desire to pass on his own knowledge and experience through the written word.’    Anita Heiss\u003c\/p\u003e\n\u003cp\u003e'Fogarty’s book of poetry stood out to the judges for the sheer power of the poetry from first to last page. This is the poetry of a mature, confident poet, rich and inventive with language and viewpoint. It is a wide-ranging literary intervention into Australian history and culture. The poetry ranges, in hybrid style, across trans-historical themes in assertive, provocative, defiant, satirical and brilliant verse that gives readers the sense that they will come back to the poems time and time again, and there will still be more to decipher and understand. There is highly inventive twisting and tangling of words such as in the line : ‘Even bulldogs British the law’ condenses colonisation into one succinct line. The poems are a radical critique of settlement – ‘you’, ‘he’, ‘she’, ‘white explorers’ and ‘untribal man singing songs’ – but are also addressed, perhaps too hopefully, ‘to all open-minded people’.' Judges' report for the Kate Challis RAKA Award.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLionel G.Fogarty, \u003cem\u003eMogwie Idan: Stories of the land\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eCo-edited by Ali Cobby Eckermann \u0026amp; with an introduction by Ali Alizadeh.\u003c\/p\u003e\n\u003cp\u003eCover image and llustrations by Lionel Fogarty.\u003c\/p\u003e\n\u003cp\u003e160pp. 2012.  ISBN \u003cspan\u003e9781922181640\u003c\/span\u003e\u003c\/p\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/ztyu\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240978447,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/LF_Mogwie-Idan.jpg?v=1348360134"},{"product_id":"noel-rowe-ethical-investigations-essays-on-australian-literature-and-poetics","title":"Noel Rowe, Ethical Investigations: Essays on Australian Literature and Poetics","description":"\u003cp\u003e\u003cstrong\u003eWinner of the 2009 Walter McRae Russell Prize \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Ethical Investigations \u003c\/em\u003ecomprises twelve essays written by Noel Rowe between 1986 and 2007, and edited after Noel’s death by Bernadette Brennan. It was awarded the 2009 Walter McRae Russell Prize for the best work of literary scholarship on an Australian subject. The collection combines both published and previously unpublished essays. It reflects and documents the work of one of Australia’s finest literary critics, bringing together insights and reflections developed over an all too brief scholarly life. When she launched this collection at the University of Sydney in 2009, Elizabeth McMahon spoke eloquently of the gift that it constitutes, not only as an invaluable resource for scholars of Australian literature, but also as an uncompromising reminder of what she called ‘the value’ of Rowe’s critical attention: ‘a habit of attention to words, to the world, to the nuance of a moment, that refuses to deflect its gaze from the business of observation, assessment, subtlety and precision.’ This collection reminds us that critical work at its best draws us into an ethical relation with the world, a relation that reconstrues our sense of both poetry and terror, of the gaps and the links between artistic responsibility and what Rowe calls the writer’s ‘duty of learning’.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBrigitta Olubas\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoel Rowe\u003c\/strong\u003e (20 June 1951 – 11 July 2007) was a poet who lived in Sydney, Australia, and was Senior Lecturer in Australian Literature at the University of Sydney where he was also awarded the University Medal (1984) and doctorate (1989). His books include \u003cem\u003ePerhaps, After All\u003c\/em\u003e (Vagabond, 2000), \u003cem\u003eNext to Nothing\u003c\/em\u003e (Vagabond Stray Dog, 2004) and \u003cem\u003eTouching the Hem\u003c\/em\u003e (Vagabond, 2006). He was co-editor of the literary journal \u003cem\u003eSoutherly\u003c\/em\u003e. He also, with Vivian Smith, edited \u003cem\u003eWindchimes: Asia in Australian Poetry\u003c\/em\u003e(Pandanus Books, 2006). In 2005, Rowe was awarded the \u003cem\u003eWilliam Baylebridge Memorial Prize\u003c\/em\u003e for poetry. He was also invited to read his poetry at International Festivals in Rotterdam (2005) and Jerusalem (2006). He had particular interest in the interrelationship between literature, theology and ethics. Rowe died on 11 July 2007, after being ill for two years. He is deeply missed by the Sydney poetry community he did so much to support and encourage.\u003c\/p\u003e\n\u003cp\u003eEdited by Bernadette Brennan.\u003c\/p\u003e\n\u003cp\u003e2008. 240pp. ISBN 978-0-9805113-1-4.\u003c\/p\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/akdv\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240983613,"sku":"","price":30.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/rowe_essays.jpg?v=1347955092"},{"product_id":"adam-aitken-november-already","title":"Adam Aitken, November Already","description":"\u003cp\u003e\u003cstrong\u003eAdam Aitken\u003c\/strong\u003e is a London-born teacher and writer who migrated to Sydney after spending his early childhood in Thailand and Malaysia. He has published five full length collections of poetry. \u003cem\u003eIn One House\u003c\/em\u003e, nominated in the Australian as one of the best poetry collections for 1996;  \u003cem\u003eRomeo and Juliet in Subtitles\u003c\/em\u003e shortlisted for the John Bray South Australian Literary Festival Award, and runner-up for The Age Book of the Year poetry prize; \u003cspan\u003e\u003cem\u003eEighth Habitation\u003c\/em\u003e\u003c\/span\u003e (Giramondo Publishing) shortlisted for the same award in 2010, and most recently Archipelago, shortlisted for the Kenneth Slessor Award for 2018. In 2021, Adam Aitken received the Patrick White Literary Award.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHis writing shows a deep interest in contemporary cultural issues, especially issues of Asian-Australian identity and cultural hybridity.  His work has been translated into French, Swedish, German, Polish, Malay and Mandarin, and is published internationally. In 2010-11 he spend time as Distinguished Visiting Professor at the University of Hawaii, and Poet in Residence at the Keesing Studio in Paris. He co-edited the contemporary Asian Australian Poets anthology (Puncher \u0026amp; Wattmann) in 2013. His creative non-fiction work includes \u003cspan\u003e\u003cstrong\u003e\u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e (Vagabond Press 2016). \u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 21px;\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":287764704,"sku":"","price":30.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Aitken-coverscan.jpg?v=1370483255"},{"product_id":"james-stuart-anonymous-folk-songs","title":"James Stuart, Anonymous Folk Songs","description":"\u003cp\u003e\u003cstrong\u003eHighly Commended in the Anne Elder Award 2014\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eAnonymous Folk Songs \u003c\/i\u003eis James Stuart’s first full-length collection of poems. His other collection is \u003ci\u003eImitation Era\u003c\/i\u003e (Rare Object Series, Vagabond Press, 2012). His previous work is largely intermedia. He was a 2008 Asialink Literature Resident in Chengdu, China, and works as a communications manager.\u003c\/p\u003e\n\u003cp\u003e“The complex landscapes of today, urban and natural, become worldscapes and dreamscapes in James Stuart’s poems, traversed or experienced but never wholly commandeered by ‘the likes of you \u0026amp; me’. Joy, hope and even tranquillity are edged with apprehensions of destruction and change. In the rich noticing and gorgeous pleasures of these poems, and their tensile, analytical structures, there is always form and void. Layered places, moods and the mesh of thought and feeling are expressed with the uneasy eloquence of this assured poetic talent.” \u003ci\u003eNicholas Jose\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\"The poems in Anonymous Folk Songs were composed over more than a decade. As a debut collection it is assured, intelligent, often very funny, and rewards close reading. There is much to appreciate here: different notes will of course be sounded to different ears in the process of reading; and each reading, too, produces its own metamorphoses of meaning.\" \u003cspan id=\"yui_3_16_0_1_1452748730674_38424\"\u003eBella Li in \u003ca href=\"http:\/\/cordite.org.au\/reviews\/li-stewart\/\"\u003e\u003ci id=\"yui_3_16_0_1_1452748730674_38558\"\u003eCordite Poetry Review\u003c\/i\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"...\u003cspan\u003eabout ways of seeing, but also about the rich complexities of the cross-cultural experience.\u003c\/span\u003e\" Ali Jane Smith in \u003ca href=\"\u0026lt;a%20rel=%22nofollow%22%20shape=%22rect%22%20class=%22%22%20id=%22yiv7332338883yui_3_16_0_1_1452748730674_35140%22%20target=%22_blank%22%20href=%22http:\/\/www.theaustralian.com.au\/arts\/review\/poet-james-stuarts-work-enriched-by-crosscultural-encounter\/news-story\/b9e5d60b64574a5573f63dc2f119ca75?=%22\u0026gt;http:\/\/www.theaustralian.com.au\/arts\/review\/poet-james-stuarts-work-enriched-by-crosscultural-encounter\/news-story\/b9e5d60b64574a5573f63dc2f119ca75?=\u0026lt;\/a\u0026gt;%C2%A0%C2%A0\"\u003e\u003ci class=\"\" id=\"yiv7332338883yui_3_16_0_1_1452748730674_35138\"\u003eThe Australian\u003c\/i\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\"What is most striking about Stuart’s poetry is the reverence for individual memory as a human need, as something to possess as the ‘ghost gum disappears into its sapling.’\" Kylie Law in \u003ca href=\"\u0026lt;a%20rel=%22nofollow%22%20shape=%22rect%22%20class=%22%22%20id=%22yiv7332338883yui_3_16_0_1_1452748730674_35146%22%20target=%22_blank%22%20href=%22http:\/\/rochfordstreetreview.com\/category\/books\/anonymous-folk-songs%22\u0026gt;http:\/\/rochfordstreetreview.com\/category\/books\/anonymous-folk-songs\u0026lt;\/a\u0026gt;\/%C2%A0\"\u003e\u003ci class=\"\" id=\"yiv7332338883yui_3_16_0_1_1452748730674_35144\"\u003eRochford Street Review\u003c\/i\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\"Throughout the vast journeys from rural to city, from the grounded and intimate to the conceptual, Stuart finds his strength in a simpler voice and theme that becomes enriched by his powerful use of imagery and the unexpected intensity of his endings.\" Kyra Bandte, \u003ca href=\"\u0026lt;a%20rel=%22nofollow%22%20shape=%22rect%22%20class=%22%22%20id=%22yiv7332338883yui_3_16_0_1_1452748730674_35152%22%20target=%22_blank%22%20href=%22http:\/\/www.nswwc.org.au\/2014\/10\/poetry-book-review-anonymous-folk-songs-by-james-stuart%22\u0026gt;http:\/\/www.nswwc.org.au\/2014\/10\/poetry-book-review-anonymous-folk-songs-by-james-stuart\u0026lt;\/a\u0026gt;\/\"\u003e\u003ci class=\"\" id=\"yiv7332338883yui_3_16_0_1_1452748730674_35150\"\u003eNSW Writers’ Centre\u003c\/i\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci class=\"\"\u003e\u003cspan\u003e\"...the tangible and sensory mesh with the prophetic and dreamlike to create an assortment of delectable double-exposures and incongruities.\" \u003c\/span\u003e\u003c\/i\u003eJacqui Wise in \u003ci class=\"\" id=\"yiv7332338883yui_3_16_0_1_1452748730674_35156\"\u003e\u003ca href=\"\u0026lt;a%20rel=%22nofollow%22%20shape=%22rect%22%20class=%22%22%20id=%22yiv7332338883yui_3_16_0_1_1452748730674_35158%22%20target=%22_blank%22%20href=%22http:\/\/newsroom.uts.edu.au\/news\/2014\/04\/anonymous-folk-songs%22\u0026gt;http:\/\/newsroom.uts.edu.au\/news\/2014\/04\/anonymous-folk-songs\u0026lt;\/a\u0026gt;%C2%A0\"\u003eUTS U: Magazine\u003c\/a\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\"James Stuart’s first full collection, \u003cem\u003eAnonymous Folk Songs\u003c\/em\u003e, is not a book to be read in a hurry … This is highly self-aware, literary poetry with clear antecedents, one of which is French symbolism. As the narrator says in the book’s final entry, 'English is a game \u0026amp; I’m not sure I understand myself.' You have been warned.\" Geoff Page in \u003ci class=\"\" id=\"yiv7332338883yui_3_16_0_1_1452748730674_35168\"\u003eT\u003ci class=\"\" id=\"yiv7332338883yui_3_16_0_1_1452748730674_35162\"\u003ehe Canberra Times\u003c\/i\u003e\u003c\/i\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/div\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/qxxp\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":365612557,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Vagabond_Press_-_James_Stuart_cover_final.jpg?v=1379899004"},{"product_id":"lionel-g-fogarty-eelahroo-nyah-mobo-mobo-long-ago-looking-future","title":"Lionel G. Fogarty, Eelahroo (Long Ago) Nyah (Looking) Möbö-Möbö (Future)","description":"\u003cem\u003eEelahroo (Long Ago) Nyah (Looking) Möbö-Möbö (Future) \u003c\/em\u003eis the most recent collection from \u003cspan\u003eAustralia’s foremost experimental and political poet and one of the best known contemporary Aboriginal Australian writers, Lionel G. Fogarty. \u003c\/span\u003e\n\u003cp\u003e\"Lionel Fogarty’s \u003cem\u003eEelahroo (Long Ago) Nyah (Looking) Mobo-Mobo (Future)\u003c\/em\u003e... is an unflinchingly uncomfortable read interrogating colonialism’s crooked paths with devastating impact. Fogarty combatively stakes his voice somewhere between Aboriginal English and Standard Australian English as he confronts the social and political realities of contemporary dispossession, racism and victimisation and the painfully recalcitrant attempts by the non-Indigenous Australian hegemony to address Indigenous injustice and disadvantage.\" —\u003ca href=\"http:\/\/plumwoodmountain.com\/phillip-hall-reviews-george-dyungayans-bulu-line-a-west-kimberley-song-cycle-by-stuart-cooke-and-eelahroo-long-ago-nyah-looking-mobo-mobo-future-by-lionel-fogarty\/\"\u003ePlumwood Mountain Review\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e“Sometimes angry, defiant, sometimes sad, and always in love with people and country, Lionel Fogarty is cosmically off the scales, holds multitudes, is wise, riddling, and funny too. Like all romantics the word is energy, wilderness and invention, but the modern is where he’s going. If these poems were dice, they’re all loaded. There’s no voice comes close to this intensity. And if you want something predictable and ‘correct’ (in terms of language and rhetoric) go elsewhere. ‘Here comes the tranquility incarnation.’”\u003cspan\u003e—\u003c\/span\u003eAdam Aitken\u003c\/p\u003e\n\u003cp\u003e“Once again Lionel Fogarty presents a collection of poems unique in the telling. From bar room brawls to constitutional referendums, past loves and hopes for the future, these new poems obliterate the landscape, holding the reader in a place of Aboriginal contemplation.”\u003cspan\u003e—\u003c\/span\u003eAli Cobby Eckermann\u003c\/p\u003e\n\u003cp\u003eLionel G. Fogarty is a Yugambeh man, and was born on Wakka Wakka land in South Western Queensland near Murgon on a ‘punishment reserve’ outside Cherbourg. Throughout the 1970s, he worked as an activist for Aboriginal Land Rights and protesting Aboriginal deaths in custody. In 1993, his younger brother, Daniel Yock, died while in police custody. He has published numerous collections of poetry, including most recently the award-winning \u003ca href=\"http:\/\/vagabondpress.net\/products\/lionel-fogarty-connection-requital\"\u003e\u003ci\u003eConnection Requital \u003c\/i\u003e\u003c\/a\u003eand \u003ci\u003e\u003ca href=\"http:\/\/vagabondpress.net\/collections\/australia\/products\/lionel-fogarty-mogwie-idan-stories-of-the-land\"\u003eMogwie-Idan: Stories of the land\u003c\/a\u003e.\u003c\/i\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003ci\u003e \u003c\/i\u003e\u003c\/div\u003e\n\u003cdiv\u003eLionel G. Fogarty,\u003ci\u003e Eelahroo (Long Ago) Nyah (Looking) Möbö-Möbö (Future)\u003c\/i\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e2014. 128pp. ISBN 978-1-922181-31-2\u003c\/div\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/tafm\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":930484553,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Fogarty_front_cover.jpg?v=1410744268"},{"product_id":"adam-aitken-100-letters-home","title":"Adam Aitken, One Hundred Letters Home","description":"\u003cp\u003e\u003cstrong\u003eWinner of the 2021 Patrick White Literary Award\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeautifully written, tightly structured, \u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e is as profoundly moving as it is intelligent and playful. There is the experience here of time's shifting nature, the way me\u003c\/span\u003e\u003cspan class=\"text_exposed_show\"\u003emory, need and desire work across the layers of narrative that shape a life, told, untold, remembered, misremembered and forgotten. Memory's work rolls through Aitken's perfectly measured storytelling, vivid and mesmerising in its detail, in the detours and return, in a work that is as aware socially and politically, as it is compassionate and vulnerable. This is a rare work of memoir, expansive in its cultural scope, in the precision of detail and acceptance of the failures of memory, self and family, common to all of us in their variation. Between laughter and tears, the underlying emotional grit and relentlessness of \u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e shifts things, changes you, as Aitken calls to account the past's ongoing presence in how we are to ourselves and each other.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e'Aitken’s memoir is less about obsessive, biographical exactitude, and more a movement towards excavation and piecing-together fragments into a distinct identity. The book’s rawness is a manifestation of his remembering and recollecting, like a story torn from an old newspaper, or a confession inside a much-folded letter.' Adam Aitken's\u003cem\u003e One Hundred Letters Home\u003c\/em\u003e reviewed by Ivy Alvarez in \u003ca href=\"http:\/\/southerlyjournal.com.au\/wp-content\/uploads\/2017\/06\/ALVAREZ-of-Aitken-One-Hundred-Letters-Home.pdf\"\u003e\u003cem\u003eSoutherly\u003c\/em\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\"Adam Aitken’s evocative memoir probes the reasons his father married his mother, an ‘Asian woman’, by researching family history, experimenting with Plots A, B, and C, and intertextual references to Christopher Koch’s 1995 novel \u003cem\u003eHighways to a War\u003c\/em\u003e, Graham Greene’s \u003cem\u003eThe Quiet American\u003c\/em\u003e, and Marcel Proust’s ‘Swann’s Way’ translated into Thai by his uncle. He tests the construction of his hybridity, the notion of his Asian ‘face’ and where it might be welcome, and where and with whom a trans-Asian citizen belongs.\" Gay Lynch, Transnational Literature\u003c\/p\u003e\n\u003cp\u003e\"There is no labyrinth more difficult to thread, no enigma more baffling, than that represented by our own parents; nor any quest for understanding more seductive, indeed necessary, to attempt. In \u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e Adam Aitken has accomplished the impossible with grace, acumen, humour, pathos and a beautiful sense of when to stand back and let the story tell—or not tell—itself. He has also given us a unique insight into the Asian-Australian milieu of the second half of the twentieth century. And something else as well: a passionate excursion amongst the perils and illuminations of soul-making.\" Martin Edmond\u003c\/p\u003e\n\u003cp\u003e'\u003ci\u003eOne Hundred Letters Home\u003c\/i\u003e is a beautiful story that charts what is lost, and what is carried through our chaotic, multi-faceted lives. Always, home is a destination that forms a reference point, while remaining a permanent space of longing, forgiveness and recognition.' \u003ca href=\"http:\/\/www.compulsivereader.com\/2021\/05\/05\/a-review-of-one-hundred-letters-home-by-adam-aitken\/\"\u003e\u003cem\u003eCompulsive Reader.\u003c\/em\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cspan style=\"line-height: 1.4;\"\u003eAdam Aitken, \u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"line-height: 1.4;\"\u003e2016. 304pp. ISBN 978-1-922181-04-6. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"line-height: 1.4;\"\u003eRelease date: April 2016.\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"line-height: 1.4;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cimg alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/AdamAitken_medium.jpg?7961921651604523270\" style=\"margin-right: 2px; float: left;\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eAdam Aitken\u003c\/strong\u003e is a London-born teacher and writer who migrated to Sydney after spending his early childhood in Thailand and Malaysia. He has published five full length collections of poetry. \u003cem\u003eIn One House\u003c\/em\u003e, nominated in the Australian as one of the best poetry collections for 1996;  \u003cem\u003eRomeo and Juliet in Subtitles\u003c\/em\u003e shortlisted for the John Bray South Australian Literary Festival Award, and runner-up for The Age Book of the Year poetry prize; \u003cspan\u003e\u003cem\u003eEighth Habitation\u003c\/em\u003e\u003c\/span\u003e (Giramondo Publishing) shortlisted for the same award in 2010, and most recently Archipelago, shortlisted for the Kenneth Slessor Award for 2018. In 2021, Adam Aitken received the Patrick White Literary Award.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHis writing shows a deep interest in contemporary cultural issues, especially issues of Asian-Australian identity and cultural hybridity.  His work has been translated into French, Swedish, German, Polish, Malay and Mandarin, and is published internationally. In 2010-11 he spend time as Distinguished Visiting Professor at the University of Hawaii, and Poet in Residence at the Keesing Studio in Paris. He co-edited the contemporary Asian Australian Poets anthology (Puncher \u0026amp; Wattmann) in 2013. His creative non-fiction work includes \u003cspan\u003e\u003cstrong\u003e\u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e (Vagabond Press 2016). \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":3247077380,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/AitkenFC.jpg?v=1435022789"},{"product_id":"pam-brown-missing-up","title":"Pam Brown, Missing up","description":"\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eWinner of the \u003cspan\u003eJohn Bray Poetry Award in the 2018 Adelaide Festival Awards for Literature\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThese offbeat, fragmentary yet often discursive poems were written over three years up to spring 2015. In part, they epitomize the absurdities of contemporary materialism. Pam Brown's well-practised scepticism dismantles monumental intent and splices the remains into a shrewd melange of imagery and thoughtful lyric complemented by playfulness. For Pam writing poetry is a habit, a disorganised ritual. Her poetic inventories begin in everyday bricolage. Real things interrupt the poems the same way thoughts and phrases do. You know - the fridge over there, the bus stop, surf music on a radio, a raisin squashed against a floor tile - always backgrounding a connection to the 'social' as the poems make political and personal associative links. Though disquiet is present it is usually temporary - an optimistic wit plays through this idiosyncratic poetry as a kind of placebo. But, in the end, Pam Brown simply lets the language do the work.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e'Missing up\u003c\/em\u003e distinctly interprets traces of the city, the title of each piece effortlessly incorporated into a notational verse structure. Written over three years, this corpus is urbane, parochial, (“disliking Bondi Junction”, 145) and self-deprecating. Brown’s collection is multifocal, irreverent (“the dolt in residence” 93) and cacophonous...' \u003cspan\u003eAnne Stuart reviews Missing up by Pam Brown in \u003c\/span\u003e\u003ca href=\"https:\/\/plumwoodmountain.com\/anne-stuart-reviews-missing-up-by-pam-brown\/\" data-cke-saved-href=\"https:\/\/plumwoodmountain.com\/anne-stuart-reviews-missing-up-by-pam-brown\/\" target=\"_blank\"\u003e\u003cspan\u003e\u003cem\u003ePlumwood Mountain\u003c\/em\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e'concise and finely crafted...' \u003cem\u003e\u003ca href=\"http:\/\/cordite.org.au\/reviews\/pree-brown\/\"\u003eCordite Poetry Review\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eFor over four decades \u003cstrong\u003ePam Brown\u003c\/strong\u003e has been active in all kinds of ventures in the multitudinous and continually shifting realm of Australian poetry and in other cultural scenes. Since 1971 she has published many books, chapbooks and an e-book and has been an editor for several magazines\u003cem\u003e. \u003c\/em\u003eIn 2014 she edited ten booklets of new poetry, the deciBels series, for Vagabond Press. She has always held a variety of day jobs but happily avoided a career in any one of them. Pam Brown was born in Seymour, Victoria in 1948. She grew up on military bases in Queensland which possibly 'explains something'. With stints in various local and foreign cities, she has spent most of her adult life living and working in Sydney. She has a blog at thedeletions.blogspot.com and a books site at pambrownbooks.blogspot.com.au\u003c\/p\u003e\n\u003cbr\u003ePam Brown, \u003cem\u003eMissing up\u003c\/em\u003e.\u003cbr\u003eDecember 2015. 160pp. ISBN \u003cspan\u003e978-1-922181-50-3\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRelease date: December 1, 2015.\u003c\/span\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/duld\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":6406316100,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Brown_MissingUp_Cover.jpg?v=1540463773"},{"product_id":"bella-li-argosy","title":"Bella Li, Argosy","description":"\u003cp\u003e\u003cspan\u003eWINNER of the \u003cstrong\u003eVictorian Premier's Literary Awards 2018 (Poetry).\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003eWINNER of the \u003cstrong\u003eNSW Premier's Literary Awards 2018 (Poetry).\u003c\/strong\u003e\u003cbr\u003eHighly commended in the \u003cstrong\u003eAnne Elder Poetry Award 2017.\u003c\/strong\u003e\u003cbr\u003e\u003cspan\u003eCommended in \u003c\/span\u003ethe\u003cstrong\u003e Wesley Michel Wright Prize in Poetry.\u003c\/strong\u003e \u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis innovative full-length collection, drawing inspiration from the surrealist collage novels of Max Ernst, is an arresting and utterly unique assemblage of poetry, collage and photography. In two parts, the book engages with themes of travel and exploration, language and loss, identity and originality, as well as the relationship between poetry and other disciplines: the visual arts, history, literature and film. \u003cspan\u003ePolyglot in sensibility and content, and daring in construction, \u003c\/span\u003e\u003ci\u003eArgosy \u003c\/i\u003e\u003cspan\u003edefies categorisation.\u003c\/span\u003e\u003c\/span\u003e\u003cspan\u003e Grounded firmly in Australian contemporary poetic practice, the book is also outward-looking in its approach to form and content; it constitutes a landmark in both local and international poetics\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/online.anyflip.com\/wuapt\/kwds\/index.html\" style=\"width: 550px; height: 350px;\" allowfullscreen=\"true\" allowtransparency=\"true\" scrolling=\"no\" seamless=\"seamless\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan\u003e'Bella Li’s \u003cem\u003eArgosy\u003c\/em\u003e is a stunning hybrid artefact, textually and visually. Through \u003cem\u003eArgosy\u003c\/em\u003e, Li provokes the reader on the value of the object, of \u003cem\u003ethe book\u003c\/em\u003e. This is a collection whose very reality insists on the necessity of print – it dwells within the materiality of form, and is a recognition of poetry as art and art as poetry. \u003cem\u003eArgosy’\u003c\/em\u003es exquisite writing leads the reader through collages, prose poetry and photography, the meanings of which unfold through their juxtapostions – poetic gaps that spur haunting, dreamlike sequences. This is a collection of journeys and intertextual dialogues – between poems and works, and with culture and history.' Victorian Premier's Literary Awards 2018 \u003ca href=\"https:\/\/www.wheelercentre.com\/projects\/victorian-premier-s-literary-awards-2018\/argosy\"\u003ejudges' report.\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e'The powerful and surprising impact of the book made \u003cem\u003eArgosy \u003c\/em\u003ea clear winner. Bella Li’s sophisticated handling of language, form, time and image offers a remarkable synthesis of European surrealism and an antipodean sensibility, via a Chinese–Australian history. This important contribution to Australian poetic imagination and traditions doubles as a Southern Hemisphere rewriting and re-imaging of world traditions.' NSW Premier's Award (Poetry) \u003ca href=\"http:\/\/www.sl.nsw.gov.au\/argosy-bella-li\"\u003ejudges' report\u003c\/a\u003e.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e'Bella Li's \u003c\/span\u003eis a cerebral, yet playful collection broadly presented in two movements. Li interrogates art, history, geography, film, philosophy, and language through the muscular form of the prose poem, juxtaposed with original photography and collage. \u003cem\u003eArgosy\u003c\/em\u003e is at once immediate and surreal, and self-reflexively leads us to question our received knowledge of the world, while engaging with and commenting on aesthetic traditions practised by experimental artists such as Joseph Cornell. As an artefact, the book is a singularly beautiful object that pushes the boundaries of what narrative, poetic meaning, and indeed, a collection of poetry might be.' Anne Elder Award 2017 judges' report\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e‘Li is a cartographer of a different kind. Her map-making is as aesthetic as it is topographic, plotting fragmented histories, horizons and the spectral lands of memory and dream.’ Tamryn Bennett, \u003ci\u003eMascara Literary Review\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e'The poems from Bella Li’s \u003cem\u003eArgosy\u003c\/em\u003e are drawn from an exquisite livre composé (inspired by the famous collage novels of the Surrealist painter Max Ernst), in which dense series of prose poems are set against rectified historical images of an absorbing strangeness. Near-hallucinatory visions are generated from Li’s beautifully-machinated encounters of character and image.' Judges comments for the The Wesley Michel Wright Prize in Poetry.\u003c\/p\u003e\n\u003cp\u003e'...a new wild object, a declaration about how poetry can look and be.' Bella Li's \u003cem\u003eArgosy\u003c\/em\u003e reviewed by Elena Gomez in \u003cem\u003e\u003ca href=\"http:\/\/jacket2.org\/commentary\/sea-shells-and-torsos\"\u003eJacket2\u003c\/a\u003e\u003c\/em\u003e.\u003c\/p\u003e\n\u003cdiv\u003e'...lingering, painstaking, experimental and damn good in a risky and ambitious multimodal form.' \u003cspan\u003eBella Li's \u003cem\u003eArgosy\u003c\/em\u003e reviewed by Alison Whittaker in \u003c\/span\u003e\u003cem\u003e\u003ca href=\"https:\/\/overland.org.au\/2017\/07\/june-in-poetry\/\" data-cke-saved-href=\"https:\/\/overland.org.au\/2017\/07\/june-in-poetry\/\" target=\"_blank\"\u003e\u003cspan\u003eOverland\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cem\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/em\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e'For all that \u003cem\u003eArgosy\u003c\/em\u003e is a work that draws upon many texts, Li occupies distinctively original imaginative spaces within her writing. Familiarity with the specific novels and films to which she refers can work in concert with her writing, but it is equally possible to fall into this work without seeking each and every intertextual link. The gestures through which Li examines the worlds of her characters create a sustained voice and vision.' \u003cem\u003e \u003c\/em\u003e\u003cspan\u003eBella Li's \u003cem\u003eArgosy\u003c\/em\u003e reviewed by Kate Middleton in \u003c\/span\u003e\u003cem\u003e\u003ca href=\"http:\/\/cordite.org.au\/reviews\/middleton-li\/\" data-cke-saved-href=\"http:\/\/cordite.org.au\/reviews\/middleton-li\/\" target=\"_blank\"\u003e\u003cspan\u003eCordite\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e'There's a wonderful disharmony to these poems: they radiate wonder and doom at the same time.' \u003cspan\u003eBella Li's \u003cem\u003eArgosy\u003c\/em\u003e reviewed by Ellen Cregan in \u003c\/span\u003e\u003ca href=\"https:\/\/www.readings.com.au\/review\/argosy-by-bella-li?utm_source=Readings+e-news\u0026amp;utm_campaign=289b1f9bd2-6+Australian+novels+you+should+be+reading\u0026amp;utm_medium=email\u0026amp;utm_term=0_3fa4f126ca-289b1f9bd2-81255777\u0026amp;mc_cid=289b1f9bd2\u0026amp;mc_eid=aec475e071\" data-cke-saved-href=\"https:\/\/www.readings.com.au\/review\/argosy-by-bella-li?utm_source=Readings+e-news\u0026amp;utm_campaign=289b1f9bd2-6+Australian+novels+you+should+be+reading\u0026amp;utm_medium=email\u0026amp;utm_term=0_3fa4f126ca-289b1f9bd2-81255777\u0026amp;mc_cid=289b1f9bd2\u0026amp;mc_eid=aec475e071\" target=\"_blank\"\u003e\u003cspan\u003e\u003cem\u003eReadings\u003c\/em\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e'\u003cem\u003eArgosy\u003c\/em\u003e is a beautiful coming together of poetry, visual art, history, and cartography, emergent from the journals of La Pérouse, and informed by collage novels of Max Ernst. The work is of such historical scope, yet always turns back onto this sense of ephemerality, of searching for something that is invisible.' \u003cspan\u003eConversation between Bella Li and Mindy Gill on \u003cem\u003eArgosy\u003c\/em\u003e in \u003c\/span\u003e\u003ca href=\"http:\/\/peril.com.au\/topics\/in-the-spirit-of-disappearance-interview-with-bella-li\/\" data-cke-saved-href=\"http:\/\/peril.com.au\/topics\/in-the-spirit-of-disappearance-interview-with-bella-li\/\" target=\"_blank\"\u003e\u003cspan\u003e\u003cem\u003ePeril\u003c\/em\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003eBella Li is the author of \u003ci data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/vagabondpress.net\/products\/bella-li-argosy\" target=\"_blank\"\u003eArgosy\u003c\/a\u003e \u003c\/i\u003e(Vagabond Press, 2017), which won the Victorian Premier's Literary Award for Poetry and the Kenneth Slessor Prize, and was highly commended in the Anne Elder Award and commended in the Wesley Michel Wright Prize; \u003ca href=\"https:\/\/vagabondpress.net\/collections\/facebook\/products\/bella-li-lost-lake?_pos=1\u0026amp;_sid=ab97b744c\u0026amp;_ss=r\" target=\"_blank\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLost Lake \u003c\/i\u003e\u003c\/a\u003e(Vagabond Press, 2018), shortlisted for the Judith Wright Calanthe Award; and \u003ci data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/vagabondpress.net\/collections\/new-releases\/products\/bella-li-theory-of-colours\" target=\"_blank\"\u003eTheory of Colours\u003c\/a\u003e \u003c\/i\u003e(Vagabond Press, 2021), shortlisted for the Kenneth Slessor Prize and joint winner of the Australian Book Design Association award for Best Designed Independent Book. Her first work \u003ca href=\"https:\/\/vagabondpress.net\/collections\/rare-object-series\/products\/bella-li-maps-cargo?_pos=3\u0026amp;_sid=70716b331\u0026amp;_ss=r\" target=\"_blank\"\u003e\u003cem\u003eMaps, Cargo\u003c\/em\u003e\u003c\/a\u003e appeared as part of the Rare Object Series. Her poetry, artwork, short fiction, essays, and reviews, have been published widely, including in the \u003ci data-mce-fragment=\"1\"\u003eAustralian Book Review\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eOverland\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eGoing Down Swinging\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003ePeril\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eRabbit\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eLiminal\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eThe Kenyon Review\u003c\/i\u003e, and the \u003ci data-mce-fragment=\"1\"\u003eArchives of American Art Journal\u003c\/i\u003e. Recent work can be found in \u003ci data-mce-fragment=\"1\"\u003eMeanjin \u003c\/i\u003e(Winter 2021), \u003ci data-mce-fragment=\"1\"\u003eNew Directions in Contemporary Australian Poetry \u003c\/i\u003e(Palgrave, 2021),\u003ci data-mce-fragment=\"1\"\u003e \u003c\/i\u003eand \u003ci data-mce-fragment=\"1\"\u003eArt Writing in Crisis \u003c\/i\u003e(Sternberg, 2021).\u003ci data-mce-fragment=\"1\"\u003e \u003c\/i\u003eShe holds a PhD from the University of Melbourne, and is the associate publisher at Cordite Books and the managing editor at Scribe Publications. \u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e \u003cbr\u003eBella Li, \u003cem\u003eArgosy\u003c\/em\u003e\u003cbr\u003eRRP $35.00\u003cbr\u003e\u003cspan\u003e2017. 180pp. 229mm x 152mm. PB. 57 colour images. \u003c\/span\u003e\u003cbr\u003eISBN 978-1-922181-96-1 (2018, 2nd printing) \u003cbr\u003eRelease date: February 2017. Second Printing available March 20, 2018.","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":14399981956,"sku":"","price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Argosy_Cover.jpg?v=1540350997"},{"product_id":"stewart-knocks","title":"Emily Stewart, Knocks","description":"\u003cp\u003eWinner of the inaugural Noel Rowe Poetry Award.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eKnocks\u003c\/em\u003e is the debut collection from one of the most exacting writers of Australian poetry’s new wave. Stewart’s poetry consistently surprises in its formal range, encompassing sonnets, erasures and found poetry, and striking at the level of the image –“the computer ecstasy of first-person”. The collection conveys the sense of an extended, “stretched” present, politically shadowed, where “it is commendable \/ to sign up each day, but better \/ to maintain a patina of disobedient \/ actions, shoplifting or whatever”.\u003c\/p\u003e\n\u003cp\u003eIndividual poems consider place, persona, fandom, viruses, data and desire in evoking “a residual gala of feeling”. Yet out of variety emerges a very particular architecture: these are the works of a poet obsessed with the structure of the everyday; its litter and networks, idiom and drama: “today a princess bites off her plait \/ today paper shredders are put to good use”. \u003c\/p\u003e\n\u003cp\u003eTender, argumentative, affecting – this is poetry that moves.\u003c\/p\u003e\n\u003cp\u003e“There is more than one kind of poem here, thank the Lord. Poems even differ between modes, get meta on our saggy adulthoods. The generation you didn’t know you were disappointed in not arriving has arrived. In Stewart poetics has a new seat in parliament for wetlands and other erasures. If you have a thing for internet stockings, read this. Not to mention mixed diction Australia, fuck! we don’t just get to live here, we get to write about that shit.” – Michael Farrell\u003c\/p\u003e\n\u003cp\u003e“Emily Stewart delivers punchy constructions of contemporary life in the Anthropocene and beyond. She wields her language sharply, imagery exploding with unexpected confluences that sweep routine assumptions aside.” – Jane Gibian\u003c\/p\u003e\n\u003cp\u003eEmily Stewart, \u003cem\u003eKnocks\u003c\/em\u003e\u003cbr\u003e78pp. 2016. ISBN 978-1-922181-71-8 \u003cbr\u003eRelease date: July 2016\u003c\/p\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/fgcn\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":14400157124,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/9781922181718-Perfect_Stewart_78pp.jpg?v=1465330970"},{"product_id":"kate-lilley-tilt","title":"Kate Lilley, Tilt","description":"\u003cp\u003e\u003cstrong\u003eWinner of the Victorian Premier's Literary Awards (2019)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTilt\u003c\/em\u003e follows the skewed itinerary of attachment and loss, possession and dispossession; the movement of people and things, from Greta Garbo’s Manhattan exile to the Green Bans of 1970s Sydney to the precarious passages of deracinated subjects. In its detours through the \u003cem\u003ecopia\u003c\/em\u003e of material history, lived experience and the archive of poetic forms, the book itself becomes a teeming repository of the real.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eKate Lilley\u003c\/strong\u003e has published two books of poetry, \u003cem\u003eVersary\u003c\/em\u003e (Salt 2002, winner of the Grace Levin Prize) and \u003cem\u003eLadylike \u003c\/em\u003e(UWAP 2012), two Vagabond chapbooks, \u003cem\u003eRound Vienna\u003c\/em\u003e and \u003cem\u003eRealia\u003c\/em\u003e, and is the editor of \u003cem\u003eMargaret Cavendish: Blazing World and other writings\u003c\/em\u003e (Penguin Classics) and \u003cem\u003eDorothy Hewett: Selected Poems\u003c\/em\u003e (UWAP). She is an Associate Professor in the English Department at the University of Sydney where she directs the Creative Writing program. Kate is a widely published scholar of queer, feminist textual history and theory from 17\u003csup\u003eth\u003c\/sup\u003e century women’s writing to contemporary poetry and poetics. She is also the poetry editor of \u003cem\u003eSoutherly\u003c\/em\u003e. Follow her work at \u003ca href=\"https:\/\/sydney.academia.edu\/KateLilley\"\u003ehttps:\/\/sydney.academia.edu\/KateLilley\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTilt\u003c\/em\u003e is Kate Lilley’s third full-length collection. Both of her previous books were shortlisted for the NSW Premier’s Prize and received multiple citations in the Book of the Year lists in the \u003cem\u003eSydney Morning Herald\/Age\u003c\/em\u003e and \u003cem\u003eAustralian Book Review\u003c\/em\u003e. Her edition of Dorothy Hewett’s \u003cem\u003eSelected Poems\u003c\/em\u003e was shortlisted in the WA Premier’s Awards and also cited as a Book of the Year in the SMH\/Age. Major invited readings include the University of Chicago, Indiana University, the Holloway Reading at the University of California at Berkeley, the Fannie Hurst Reading at Brandeis University, Cambridge University Poetry Festival, Adelaide Festival Writers Week, Perth Festival and Sydney Writers Festival. She publishes poetry regularly in major national and international journals.\u003c\/p\u003e\n\u003cp\u003e'Australian poetry won't be the same after \u003cem\u003eLadylike\u003c\/em\u003e', Stuart Cooke, \u003cem\u003eAustralian Poetry\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e 'Intelligent, graceful, sceptical, endlessly resonant, Lilley’s poetry gives us a passionately exact language, which opens up the complexities of the inexact; in particular, the complexities of desire and love.' Alison Croggan, \u003cem\u003eOverland\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e 'Unlike her earlier book, the superb \u003cem\u003eVersary\u003c\/em\u003e, \u003cem\u003eLadylike\u003c\/em\u003e uses no traditional verse forms. But Lilley's poems are always concise with wit and meaning, and the same bold, singed humour remains with endless thought clutching each taut line...With its sophisticated observations and gleaming learning and design, \u003cem\u003eLadylike\u003c\/em\u003e is a searingly intelligent book that rewards many readings.' Gig Ryan, \u003cem\u003eSydney Morning Herald\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e 'Kate Lilley’s poems...display a refinement of camp definable as the application of precise moral and aesthetic discrimination to and through the products of commercial culture, in a way Augustan in its severity and precision….brilliant.'\u003cbr\u003e John Wilkinson, \u003cem\u003eJacket\u003cbr\u003e \u003c\/em\u003e\u003cbr\u003e 'There's a langorous resourcefulness to these poems - as if their parts could just fall apart, but they don't.' Michael Farrell, \u003cem\u003eJacket2\u003c\/em\u003e\u003cbr\u003e \u003cbr\u003e 'The poems are exquisite and compelling.' Pam Brown, \u003cem\u003eSoutherly\u003c\/em\u003e \u003cbr\u003e \u003cbr\u003e 'Compulsively readable', John Tranter [blurb endorsement of \u003cem\u003eVersary\u003c\/em\u003e]\u003c\/p\u003e\n\u003cp\u003eKate Lilley, \u003cem\u003eTilt\u003c\/em\u003e\u003cbr\u003e 2018. 148mm x 210mm. 90pp. \u003cbr\u003eISBN 978-1-922181-87-9\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\"\u003e\u003c\/p\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/jeqk\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":14400195524,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Lilley_cover.jpg?v=1548988937"},{"product_id":"nguy-n-tien-hoang-captive-and-temporal","title":"Nguyễn Tiên Hoàng, Captive and Temporal","description":"\u003cp\u003e\u003cstrong\u003eShortlisted for the NSW Premier's Literary Awards 2018 (Poetry)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNguyễn Tiên Hoàng\u003c\/strong\u003e is a Melbourne-based poet, translator and poetry editor. His poems appeared in the \u003cem\u003eSaturday Age\u003c\/em\u003e, \u003cem\u003eHEAT\u003c\/em\u003e, Cordite, Peril, Black Inc Publishing anthologies of \u003cem\u003eBest Australian Poems\u003c\/em\u003e, \u003cem\u003ePoetry International\u003c\/em\u003e website and \u003ca href=\"https:\/\/puncherandwattmann.com\/books\/book\/contemporary-asian-australian-poets\/\"\u003e\u003cem\u003eContemporary Asian-Australian Poets\u003c\/em\u003e anthology\u003c\/a\u003e [Puncher \u0026amp; Wattmann, 2013]. With Vagabond Press he has published \u003cem\u003eYears, Elegy\u003c\/em\u003e - a chapbook in the Rare Objects series and edited the fourth volume in the Asia Pacific Poetry series. \u003cstrong\u003eNguyễn Tiên Hoàng\u003c\/strong\u003e under the pen name \u003cstrong\u003eThường Quán\u003c\/strong\u003e over thirty has published a wide range of essays, poems and short stories on major Vietnamese literary journals inside and outside Vietnam including Van, Van Hoc, Hop Luu, tienve, damau; a collection of poems \u003cem\u003eNgoai Giac Ngu\u003c\/em\u003e (Beyond Sleeps) by Van Nghe Publishing, California; and \u003cem\u003eWatermarks\u003c\/em\u003e on talawas. He was poetry editor of \u003cem\u003eHop Luu\u003c\/em\u003e (Confluence) and is currently on the editorial panel of \u003ca href=\"http:\/\/damau.org\"\u003edamau.org\u003c\/a\u003e. Born in 1956 in Danang, Vietnam. Arrived in Australia in 1974 under the Colombo Plan scholarship. Worked as broadcaster for Radio Australia and an Information Technology business system analyst in Telstra and IBM.\u003c\/p\u003e\n\u003cp\u003eNguyễn Tiên Hoàng, \u003cem\u003eCaptive and Temporal\u003c\/em\u003e\u003cbr\u003e2017. 112pp. ISBN978-1-922181-41-1 \u003cbr\u003eRelease date: August 15, 2017. \u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 13\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\" style=\"float: none;\"\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/fmzk\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":14400415876,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/9781922181411_Nguyen_FC.jpg?v=1494829938"},{"product_id":"peter-boyle-ghostspeaking","title":"Peter Boyle, Ghostspeaking","description":"\u003cdiv style=\"text-align: center;\"\u003e\u003cstrong\u003eWinner of the 2017 NSW Premier's Award for Poetry\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003cstrong\u003eShortlisted for the \u003cspan\u003eJohn Bray Poetry Award in the 2018 Adelaide Festival Awards for Literature\u003c\/span\u003e\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: center;\"\u003e\u003cstrong\u003eShort-listed for the ALS Gold Medal\u003c\/strong\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eEleven fictive poets from Latin America, France and Québec. Their poems, interviews, biographies and letters weave images of diverse lives and poetics. In the tradition of Fernando Pessoa, Boyle presents an array of at times humorous, at times tormented heteronymous poets. In their varied voices and styles, writing as they do across the span of the 20\u003csup\u003eth\u003c\/sup\u003e Century and into the 21\u003csup\u003est\u003c\/sup\u003e , these haunted and haunting figures offer one of poetry’s oldest gifts – to sing beauty in the face of death. In all this Boyle, their fictive translator, is deeply enmeshed.\u003c\/p\u003e\n\u003cp\u003e\"The range of this book is panoramic and the language, which is clear and luminous, is weighted towards exploring the light and dark aspects of human mystery. The poems take in many perspectives and reflect the self in its various modalities and moods. This is a work of sustained imagination. This remarkable book — blending the best of poetry, fiction and annotated ‘translation’ — captures the lives of 11 imagined poets (and of the 12th, the poet-translator whose voice threads itself through the whole collection). These voices, and the stories they tell, remain in the mind, haunting the reader much as the ghosts of the title — loss, grief and spectral apparitions — haunt the fictive poets. Captivating the reader with its rendition of pathos and ethos, this work is distinguished by its ambitious scope and imaginative range, its diversity of voice and its outstanding quality of craft.\" \u003cspan\u003eFrom the \u003c\/span\u003e\u003ca data-cke-saved-href=\"http:\/\/www.sl.nsw.gov.au\/ghostspeaking-peter-boyle\" href=\"http:\/\/www.sl.nsw.gov.au\/ghostspeaking-peter-boyle\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003ejudges' comments\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e as Winner of Kenneth Slessor Prize for Poetry in the NSW Premier's literary awards.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\"\u003cem\u003eGhostspeaking\u003c\/em\u003e succeeds in creating memorable poetry that has the added dimension of memorable characters. This is no small accomplishment. It will leave many readers wondering how Boyle was able to create such a diverse cast of personas, such a 'galaxy of approaching worlds.' Much more than literary technique makes the poems in this book so effective. In a footnote, we hear one of the fictive poets argue that experimentation for the sake of experimentation fails to provide 'the stuff that really matters — the horror, the beauty, the delicacy, the silence.' That’s exactly what Boyle brings us in these 'translations' — the stuff that really matters.\" \u003cspan\u003ePeter Boyle's \u003cem\u003eGhostspeaking\u003c\/em\u003e reviewed by John Bradley in \u003c\/span\u003e\u003ca data-cke-saved-href=\"http:\/\/www.raintaxi.com\/ghostspeaking\/\" href=\"http:\/\/www.raintaxi.com\/ghostspeaking\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003e\u003cem\u003eRain Taxi.\u003c\/em\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e\"The simplest way to describe this remarkable book would be to say that Peter Boyle has invented eleven, mainly Spanish-speaking, twentieth and twenty-first century poets and made a fictional anthology which is a selection of his English translations of their imagined work. Beyond that it’s rather difficult to describe it accurately. One could look to Boyle’s \u003ca data-cke-saved-href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-apocrypha-texts-collected-and-translated-by-william-o-shaunessy\" href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-apocrypha-texts-collected-and-translated-by-william-o-shaunessy\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eApocrypha\u003c\/span\u003e\u003c\/a\u003e published in 2009, another work of great ambition and sophistication ... \u003cem\u003eGhostspeaking\u003c\/em\u003e isn’t entirely an anthology – there is a lot of novelistic activity going on inside it as well: the lives of the eleven imaginary poets are sketched in and their relationships and interactions with the author brought to light in a way that makes you think of an author’s professional journal\/diary with translations appended. And at another level, \u003cem\u003eGhostspeaking\u003c\/em\u003e could be described as an extension of the well-known genre of what might be called 'the text-based uncanny.'\" \u003cspan\u003ePeter Boyle's \u003cem\u003eGhostspeaking\u003c\/em\u003e reviewed by Martin Duwell in \u003c\/span\u003e\u003ca data-cke-saved-href=\"http:\/\/www.australianpoetryreview.com.au\/2016\/11\/peter-boyle-ghostspeaking\/\" href=\"http:\/\/www.australianpoetryreview.com.au\/2016\/11\/peter-boyle-ghostspeaking\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003e\u003cem\u003eAustralian Poetry Review.\u003c\/em\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003e'Boyle’s book is a book of abundance; in every poem, every biography, every vignette the reader senses more identities as yet unemerged. \u003cem\u003eGhostspeaking\u003c\/em\u003e is a kaleidoscope of experience.' \u003cspan\u003ePeter Boyle's \u003cem\u003eGhostspeaking\u003c\/em\u003e reviewed by Kate Middleton in the \u003c\/span\u003e\u003ca data-cke-saved-href=\"http:\/\/sydneyreviewofbooks.com\/ghostspeaking-peter-boyle\/\" href=\"http:\/\/sydneyreviewofbooks.com\/ghostspeaking-peter-boyle\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003eSydney Review of Books\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e'In reading the book I’d been struck foremost by the formal aspects of the writing, the beauty of the language, and the generosity of imagination behind these creations. I’d been thinking of aesthetic matters. But when I consider the political implications of Boyle’s ventriloquy: yes, he invents Latin American, French, and Québécois poets, but he does so with a depth of knowledge about the literary culture and history that these poets are embedded in. Boyle has published translations of other (real) Latin American, Spanish, and French poets, and is versed in these literary cultures. The poetry is self-aware, too, evaluating what it is doing while it is doing it.' \u003cspan\u003ePeter Boyle's \u003cem\u003eGhostspeaking\u003c\/em\u003e reviewed by Prithvi Varatharajan in \u003c\/span\u003e\u003ca data-cke-saved-href=\"https:\/\/cordite.org.au\/reviews\/varatharajan-boyle\/\" href=\"https:\/\/cordite.org.au\/reviews\/varatharajan-boyle\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003e\u003cem\u003eCordite\u003c\/em\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e'If Peter Boyle’s new and selected, \u003cem\u003eTowns in the Great Desert\u003c\/em\u003e, was a tour de force of the imagination, and a book of stunningly strange and brilliant poetry, this next book, \u003cem\u003eGhostspeaking\u003c\/em\u003e, surpasses it in ambition and virtuosity.' \u003cspan\u003ePeter Boyle's \u003cem\u003eGhostspeaking\u003c\/em\u003e reviewed by Kevin Brophy in \u003c\/span\u003e\u003ca data-cke-saved-href=\"https:\/\/www.australianbookreview.com.au\/abr-online\/current-issue\/january\/3774-kevin-brophy-reviews-ghostspeaking-by-peter-boyle\" href=\"https:\/\/www.australianbookreview.com.au\/abr-online\/current-issue\/january\/3774-kevin-brophy-reviews-ghostspeaking-by-peter-boyle\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u003cspan\u003e\u003cem\u003eAustralian Book Review\u003c\/em\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"As in his ground-breaking work, \u003cem\u003eApocrypha, \u003c\/em\u003ePeter Boyle plays hauntingly and movingly with character and voice in this brilliant new collection. The often broken, dark-edged lives of his ‘translated’ poets are rendered in language that is both intimate and universal. These poems and prose pieces span cultures and contexts to evoke an intoxicating range of human feeling and experience. Boyle’s poetry confronts the dark, but it is also uplifting in its perfection of craft and for the way it radiates the enormous power that poetry has to uncover deep, surprising knowledge. I can think of no Australian poet more deserving of a central place on the world stage than Peter Boyle. His imaginative sweep is staggering.\" \u003cspan\u003e– \u003c\/span\u003eJudith Beveridge\u003c\/p\u003e\n\u003cp\u003e\"Somewhere between a brief, succulent anthology of the best twentieth century poetry and a rare contemporary novel, \u003cem\u003eGhostspeaking \u003c\/em\u003erescues, from a world within this one, eleven poets who never existed. But that can never be said again. These lives and works are so convincing that readers will trawl the web to learn more about them. All of the writers gathered here are wonderful, some quite remarkable: what then does that leave us to say of the man who created them?\"\u003cspan\u003e –\u003c\/span\u003e David Brooks\u003c\/p\u003e\n\u003cp\u003ePraise for multi-award winning Apocrypha:\u003c\/p\u003e\n\u003cp\u003e\"[Peter Boyle is] one of the best and most fascinating of Australian poets ... \u003cem\u003eApocrypha\u003c\/em\u003e, a brilliant work – to my mind one of the pinnacles of recent Australian poetry” – Martin Duwell\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003ePeter Boyle\u003c\/strong\u003e is the author of six collections of poetry, most recently \u003ca href=\"https:\/\/puncherandwattmann.com\/books\/book\/towns-in-the-great-desert-new-selected-poems\"\u003e\u003cem\u003eTowns in the Great Desert: New and Selected Poems\u003c\/em\u003e\u003c\/a\u003e. The highly awarded \u003ca href=\"http:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-apocrypha-texts-collected-and-translated-by-william-o-shaunessy\"\u003e\u003cem\u003eApocrypha\u003c\/em\u003e\u003c\/a\u003e (2009) marked the beginning of his experimentation with heteronyms and the merging of fiction, poetry and speculation. Boyle is also a prolific translator of poetry with six books of poetry translated from Spanish. After working for more than twenty years as a teacher with TAFE NSW he is now completing a Doctorate of Creative Arts at Western Sydney University, focusing on the translation of poetry, the heteronym tradition and their connections. \u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003ePeter Boyle, \u003cem\u003eGhostspeaking\u003c\/em\u003e\u003cbr\u003e2016. ISBN 978-1-922181-78-7\u003cbr\u003eRelease date: August 2016","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":14401169220,"sku":"","price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/9781922181787_Boyle_Ghostspeaking_front_cover.jpg?v=1462068674"},{"product_id":"berndt-sellheim-awake-at-the-wheel","title":"Berndt Sellheim, Awake at the wheel","description":"\u003cp\u003eWINNER of the 2016 FAW Anne Elder Award for first collection\u003c\/p\u003e\n\u003cp\u003eFrom the backroads of the Australian outback to the icy streets of Paris winter, these dynamic poems traverse geographies, languages and techniques. Marked by a subtle probing of the metaphysical layerings that underpin human experience, this exploration returns again and again to the concrete details of everyday happenings. Drawing equally on moments of joy and loss, shifting from comic and bawdy bohemianism to introspective sensory envelopment, \u003ci\u003eAwake at the Wheel\u003c\/i\u003e evokes a dynamic and fragile world. This fragility is an insistent theme, both in terms of human mortality and ecological crisis. These poems travel across a beautiful earth, through mental and spiritual zones bleached by consumer capitalism, and through country ravaged by mining, passing amongst the ghosts of those who have gone before, the spirits of loved ones, and of cultural and literary inheritance. This is a collection of playful, innovative and imaginative poems, driven by a refined and attentive musicality, brimming with possibility and surprise.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJudges' report for the Anne Elder Award 2016: \"\u003c\/span\u003e\u003cspan\u003eBerndt Sellheim’s \u003c\/span\u003e\u003cspan\u003ecombination of poetry and prose is impressive. It deals with pressing issues, impending ecological crisis, the scathing effects of capitalism, our own mortality. But it is also lyrical and masterful. We especially liked ‘The Experience Machine’, which is epic in scope and its all the right bases. It encap- sulates the modern existential malaise without losing its sense of humour. Technically accomplished, especially the line breaks; this is vital poetry. Sellheim is grounded in the art and craft of poetry, he embraces post modernist poetry and runs with it, producing a thought provoking selection.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBerndt Sellheim\u003c\/strong\u003e is a poet, novelist and occasional academic.He has taught creative writing and poetics at UTS, and lectured in philosophy at Macquarie University, where he completed a doctorate in phenomenology in 2008. His poetry and critical work have been published in periodicals such as \u003ci\u003eMeanjin, Heat, Island, Overland, Best Australian Poems, Plumwood Mountain, Eyeline \u003c\/i\u003eand T\u003ci\u003ehe Journal for the British Society of Phenomenology\u003c\/i\u003e. He is the author of the novel \u003ci\u003eBeyond the Frame’s Edge \u003c\/i\u003e(Fourth Estate, 2013).\u003c\/p\u003e\n\u003cspan\u003eBerndt Sellheim, \u003cem\u003eAwake at the wheel\u003c\/em\u003e\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003e2016. 90 pp. 210 x 180 mm. ISBN 9781922181916  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRelease date: August 2016.\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/dgry\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":20468365252,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/9781922181916-Sellheim_front_cover.jpg?v=1466036700"},{"product_id":"adam-aitken-archipelago","title":"Adam Aitken, Archipelago","description":"\u003cp\u003e\u003cstrong\u003eWinner of the 2021 Patrick White Literary Award\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShortlisted for the Prime Minister's Award for Poetry 2018\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eShortlisted for the NSW Premier's Literary Awards 2018 (Poetry)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eHis most personal poetry to date, Adam Aitken’s \u003c\/span\u003e\u003ci class=\"\"\u003eArchipelago\u003c\/i\u003e\u003cspan\u003e is entirely preoccupied with the experience of living and marrying in France. Much of it written while resident at the Keesing Studio in Paris, and then in the south during a seriously cold spring, many of the poems deal with art, Romantic and Modernist writing and writers, and concepts of nostalgia, spirituality, revolution and resistance. One key question is what France (and Europe generally) mean to an Australian writer, which leads the poet to consider the ‘French inspired’ work of other Australian writers. At a simpler level, the collection attempts to weigh cosmopolitan culture against that of its fictive alternative: semi-rural France, where the poet asks how we might reconcile isolation with social engagement, conservative values with more outward looking perspectives? Adopting the lens of those who live there, Aitken reflects on the region’s Gallo-Roman history, its myths, its communal virtues and constraints, its weather, and on the threats to its ecology.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e'Aitken thus puts to use a fractured lineation that often interrupts the flow of the poems, creating a staccato,pa ratac tic,  almost imagist effect, which adds to the simultaneity of things, times, places, and literary figures evident inArchipelago. Aptly, the speaker ‘surveyed the process’, perpetually examining the ‘process’ of writing and making,and what this does to both the spaces the poems inhabit and how this in turn informs the identity, or identities, of the speaker.' \u003cem\u003eAustralian Book Review\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e'France is the context of this intense new volume of poetry from the audacious and culturally investigative poet, Adam Aitken. But this is France seen through the eyes of the traveller \u003c\/span\u003e\u003ci\u003eand\u003c\/i\u003e\u003cspan\u003e the culturally imbued — a post-colonial sensitivity encountering geography and aesthetics in that way Aitken has of considering both the impact of an environment on the self, and the impact of the self on environment. This is a remarkable book in which a form of \u003c\/span\u003e\u003ci\u003edifférance\u003c\/i\u003e\u003cspan\u003e works in each poem and across the whole — the act of creating poems becomes part of the meaning of the world seen around the poet. Acutely sensitive not only to visual art and literary creativity but to the very persons of the creators, there is a subtextual dialogue that goes on throughout, between the poet and other creators. The act of making is often complex and in compromised environments, where a past of war and devastation edge onto a present of hope and creative affirmation.'\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan\u003e—\u003c\/span\u003e\u003cspan\u003eJohn Kinsella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAdam Aitken\u003c\/strong\u003e is a London-born teacher and writer who migrated to Sydney after spending his early childhood in Thailand and Malaysia. He has published five full length collections of poetry. \u003cem\u003eIn One House\u003c\/em\u003e, nominated in the Australian as one of the best poetry collections for 1996;  \u003cem\u003eRomeo and Juliet in Subtitles\u003c\/em\u003e shortlisted for the John Bray South Australian Literary Festival Award, and runner-up for The Age Book of the Year poetry prize; \u003cspan\u003e\u003cem\u003eEighth Habitation\u003c\/em\u003e\u003c\/span\u003e (Giramondo Publishing) shortlisted for the same award in 2010, and most recently Archipelago, shortlisted for the Kenneth Slessor Award for 2018. In 2021, Adam Aitken received the Patrick White Literary Award.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHis writing shows a deep interest in contemporary cultural issues, especially issues of Asian-Australian identity and cultural hybridity.  His work has been translated into French, Swedish, German, Polish, Malay and Mandarin, and is published internationally. In 2010-11 he spend time as Distinguished Visiting Professor at the University of Hawaii, and Poet in Residence at the Keesing Studio in Paris. He co-edited the contemporary Asian Australian Poets anthology (Puncher \u0026amp; Wattmann) in 2013. His creative non-fiction work includes \u003cspan\u003e\u003cstrong\u003e\u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e (Vagabond Press 2016). \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAdam Aitken, \u003cem\u003eArchipelago\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2017. 112pp. ISBN \u003c\/span\u003e978-1-922181-94-7\u003cbr\u003e\u003cspan\u003eRelease date: August 15, 2017.\u003c\/span\u003e \u003c\/p\u003e\n\u003cdiv class=\"page\" title=\"Page 13\"\u003e\n\u003cdiv class=\"layoutArea\"\u003e\n\u003cdiv class=\"column\"\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cimg alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\" style=\"float: none;\"\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ciframe style=\"width: 550px; height: 350px;\" src=\"https:\/\/online.anyflip.com\/wuapt\/zkak\/index.html\" seamless=\"seamless\" scrolling=\"no\" allowtransparency=\"true\" allowfullscreen=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":33786706948,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/9781922181947-_Aitken__FC.jpg?v=1494829778"},{"product_id":"pam-brown-untitled","title":"Pam Brown, Click here for what we do","description":"\u003cstrong\u003eWinner ALS Gold Medal for Literature 2019\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eShortlisted for the Prime Minister's Award 2019\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eShortlisted for the Judith Wright Calanthe Award 2018\u003c\/strong\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e'This collection is a fine example of Pam Brown’s larger project, to write a poetry that maps the edges of thought, or—in her words—to think ‘what cannot \/ be thought’. click here for what we do brings a clarity and precision to language that refracts the everyday into a strangeness with which to examine what we thought we knew. Disjunctions between objects, and the words used to describe them, comingle into a delightful study of the paradox and power of poetry. Like ‘a shimmering mirage of flame’, the extended lengths of these poems, and their short, fragmented lines, suggest that the border between spoken language and poetry is a lot hazier than we might otherwise think. However, Brown’s tremendous skill ensures that, no matter how relaxed, the poems are at once comical, satirical and thoughtful; if the poetry feels ‘as ephemeral \/ as instagram \/ as a whisper \/ as a wink’ is it because Brown knows how to find the most innate structures of poetic expression. Leaving traces of disquiet through extended meditations and wry observation, this is a poetry of movement and stillness, a lived document examining contemporary life in real time, in all its banal glory.' (From the judges' report)\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eClick here for what we do \u003c\/em\u003eis a cluster of four loosely connected poems that are not only sceptical of the status quo's serial mendacities and hype but, in a way, they also attempt a coming to terms with the erosion of the idealistic conditions that once made non-mainstream culture, including poetry, so viable and, even, necessary. For Pam Brown writing poetry is a habit, a disorganised ritual. Her poetic inventories begin in everyday bricolage. Real things interrupt the poems the same way thoughts and phrases do. She dismantles monumental intent and then, by mixing (rather than layering), splices the remains into a melange of imagery and thoughtful lyric. Hers is a friendly intelligence that clues in connections to the 'social' as the poems make political and personal associative links. Spurning any lofty design these poems debug the absurdities of contemporary materialism with surreptitious humour. Though disquiet is present it's usually temporary. Here, thinking about the future can be 'trickgensteinian' and yet Pam \u003cspan\u003eBrown's poems offer a circumspect optimism\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp\u003ePam Brown's many books of poetry include \u003cem\u003eText Thing\u003c\/em\u003e,\u003cem\u003e Authentic Local\u003c\/em\u003e, \u003cem\u003eHome by Dark\u003c\/em\u003e and \u003cem\u003e\u003ca href=\"http:\/\/vagabondpress.net\/collections\/poetry\/products\/pam-brown-missing-up\"\u003eMissing Up\u003c\/a\u003e\u003c\/em\u003e (the latter published by Vagabond Press in 2015). She has been writing, collaborating, editing and publishing in diverse modes both locally and internationally for over four decades. Pam Brown's collection \u003cem\u003eDear\u003c\/em\u003e \u003cem\u003eDeliria\u003c\/em\u003e (Salt, 2003) received the annual New South Wales Premier's Award for poetry. She has earned a living in a range of occupations. Her website is located at pambrownbooks.blogspot.com.au . She lives in the perpetually reconstructing city of Sydney.\u003c\/p\u003e\n\u003cp\u003ePam Brown, \u003cem\u003eClick here for what we do.\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e2018. 133mm x 203mm. 150pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN 978-1-922181-34-3\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRelease date: April 2018.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\"\u003e\u003c\/p\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/nqxy\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":33786759812,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Brown_ClickHere_Cover.jpg?v=1513921199"},{"product_id":"philip-mead-zanzibar-light","title":"Philip Mead, Zanzibar Light","description":"\u003cp\u003e\u003cspan\u003eThese poems play with the endlessly malleable form of the sonnet, across a spectrum of tone and register, from traditional to terminals. They are in the innovative traditions of contemporary poetry that are willing to explore and remediate any of the conventions of the poetic archive. In the longer form poems shifting states of consciousness are tagged to scraps of language and mysteriously resonant scenes of contemporary life. The emphasis is always on the ephemeral, the intersections of dreamscapes with the barely noticeable strata of everyday life. The sentences are always close to ordinary, but unafraid to follow the runs of association and blockage generated by language itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e‘This is a book of cross-talking voices coming from the same source. Meditative poems about landscape necessarily collide and upend the tangents of modernity, the ironies of the “civilized.” The sonnets in the book work individually and collectively, and there's an underlying journey in search of equanimity\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e and knowledge but constantly being confronted and re-routed by the insensitivities, opportunisms and commercial brutalities of a corporate and controlling world.' \u003c\/span\u003e\u003cspan\u003e– John Kinsella\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003e\u003cspan\u003ePhilip Mead\u003c\/span\u003e\u003c\/b\u003e\u003cspan\u003e was born in Brisbane in 1953. He was educated in Queensland, the United Kingdom and the United States, and began writing and publishing poetry in the early 1970s. His poems have appeared in magazines and anthologies in Australia and internationally, and have been published by University of Queensland Press (\u003ci\u003eThis River is in the South\u003c\/i\u003e, 1984). In the 1990s he edited, with John Tranter, \u003ci\u003eThe Penguin Book of Modern Australian Poetry\u003c\/i\u003e and was Poetry Editor of \u003ci\u003eMeanjin\u003c\/i\u003e (1987-1994). He was Lockie Fellow in Creative Writing and Australian Literature at the University of Melbourne and is now Chair of Australian Literature at the University of Western Australia. He has also published criticism of Australian poetry and edited the work of several Australian poets. His critical study \u003ci\u003eNetworked Language: History \u0026amp; Culture in Australian Poetry\u003c\/i\u003e won the 2010 New South Wales Premier’s Prize for Literary Scholarship.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePhilip Mead, Zanzibar Light.\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e2018. 148mm x 210mm. 70pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN 978-1-922181-70-1\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\"\u003e\u003c\/p\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/wpks\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":33786869380,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Mead_cover.jpg?v=1513921157"},{"product_id":"bella-li-lost-lake","title":"Bella Li, Lost Lake","description":"\u003cp\u003e\u003cstrong\u003eShortlisted for the Judith Wright Calanthe Award 2018\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e'Lost Lake\u003c\/em\u003e is a lush hybrid of prose poetry, collage and photography, forming what is one of the most beautifully produced poetry titles of recent times. Expansive and imaginative, Li challenges the possibilities of the medium; \u003cem\u003eLost Lake \u003c\/em\u003eis an adventure in form, where the book’s design is as poetic as the text it contains. A poetic travelogue of sorts, the book journeys constantly between the poetic and the visual in a narrative that takes on and repurposes the tropes of colonial exploration in order to tell a different, multi-valent story. There are funfairs, hothouses, and green houses. There are lost lakes. Li’s prose poems bely their slick forms; the voice is assured and sophisticated, even though many sentences are charged fragments from her source texts. Hovering underneath text and image alike is a devotion to what has been lost, to its recovery through expansion into the surreal. Positioned at the interstices of the subliminal and the known, the work reveals absences in time and space that soon we long to inhabit.' (From the QLD Prize judges' report)\u003c\/p\u003e\n\u003cp\u003eFollowing on from the groundbreaking \u003cem\u003eArgosy\u003c\/em\u003e, Li's second collection \u003cem\u003eLost Lake\u003c\/em\u003e ups the ante, taking the reader and literature alike into new reaches and realms of the imagination. \u003cem\u003eLost Lake\u003c\/em\u003e, which exhibits Li’s distinctive use of text and image, consists of eight extended sequences of poetry, collage and photography, drawing on sources ranging from Dante’s \u003cem\u003eInferno \u003c\/em\u003eand Steve Reich’s \u003cem\u003eDifferent Trains\u003c\/em\u003e, to \u003cem\u003eWoman's Day \u003c\/em\u003emagazines and the archives of artist and autodidact Joseph Cornell. Through the eight sequences of \u003cem\u003eLost Lake\u003c\/em\u003e, geography and music, history and architecture, works of art and literature, encounter each other in striking and unexpected ways, generating new hybrid objects. \u003cem\u003eLost Lake \u003c\/em\u003edisassembles boundaries and challenges expectations of what a work of literature can be—its alchemy blooms in the spaces between eras, genres and forms. \u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eBella Li\u003c\/strong\u003e is the author of \u003ci data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/vagabondpress.net\/products\/bella-li-argosy\" target=\"_blank\" data-mce-href=\"https:\/\/vagabondpress.net\/products\/bella-li-argosy\" data-mce-fragment=\"1\"\u003eArgosy\u003c\/a\u003e \u003c\/i\u003e(Vagabond Press, 2017), which won the Victorian Premier's Literary Award for Poetry and the Kenneth Slessor Prize, and was highly commended in the Anne Elder Award and commended in the Wesley Michel Wright Prize; \u003ca href=\"https:\/\/vagabondpress.net\/collections\/facebook\/products\/bella-li-lost-lake?_pos=1\u0026amp;_sid=ab97b744c\u0026amp;_ss=r\" target=\"_blank\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/facebook\/products\/bella-li-lost-lake?_pos=1\u0026amp;_sid=ab97b744c\u0026amp;_ss=r\" data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLost Lake \u003c\/i\u003e\u003c\/a\u003e(Vagabond Press, 2018), shortlisted for the Judith Wright Calanthe Award; and \u003ci data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/vagabondpress.net\/collections\/new-releases\/products\/bella-li-theory-of-colours\" target=\"_blank\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/new-releases\/products\/bella-li-theory-of-colours\" data-mce-fragment=\"1\"\u003eTheory of Colours\u003c\/a\u003e \u003c\/i\u003e(Vagabond Press, 2021), shortlisted for the Kenneth Slessor Prize and joint winner of the Australian Book Design Association award for Best Designed Independent Book. Her first work \u003ca href=\"https:\/\/vagabondpress.net\/collections\/rare-object-series\/products\/bella-li-maps-cargo?_pos=3\u0026amp;_sid=70716b331\u0026amp;_ss=r\" target=\"_blank\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/rare-object-series\/products\/bella-li-maps-cargo?_pos=3\u0026amp;_sid=70716b331\u0026amp;_ss=r\" data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMaps, Cargo\u003c\/em\u003e\u003c\/a\u003e appeared as part of the Rare Object Series. Her poetry, artwork, short fiction, essays, and reviews, have been published widely, including in the \u003ci data-mce-fragment=\"1\"\u003eAustralian Book Review\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eOverland\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eGoing Down Swinging\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003ePeril\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eRabbit\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eLiminal\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eThe Kenyon Review\u003c\/i\u003e, and the \u003ci data-mce-fragment=\"1\"\u003eArchives of American Art Journal\u003c\/i\u003e. Recent work can be found in \u003ci data-mce-fragment=\"1\"\u003eMeanjin \u003c\/i\u003e(Winter 2021), \u003ci data-mce-fragment=\"1\"\u003eNew Directions in Contemporary Australian Poetry \u003c\/i\u003e(Palgrave, 2021),\u003ci data-mce-fragment=\"1\"\u003e \u003c\/i\u003eand \u003ci data-mce-fragment=\"1\"\u003eArt Writing in Crisis \u003c\/i\u003e(Sternberg, 2021).\u003ci data-mce-fragment=\"1\"\u003e \u003c\/i\u003eShe holds a PhD from the University of Melbourne, and is the associate publisher at Cordite Books and the managing editor at Scribe Publications. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBella Li, \u003cem\u003eLost Lake\u003c\/em\u003e\u003cbr\u003eRRP $35.00 \u003cbr\u003eApril 2018. 176pp. PB. 140mm x 210mm. 54 colour images.\u003cbr\u003eISBN 978-1-925735-18-5 \u003cbr\u003e \u003cbr\u003e \u003c\/p\u003e\n\u003ciframe style=\"width: 550px; height: 350px;\" src=\"https:\/\/online.anyflip.com\/wuapt\/ftjx\/index.html\" seamless=\"seamless\" scrolling=\"no\" allowtransparency=\"true\" allowfullscreen=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e \u003cbr\u003e\u003c\/p\u003e\n  \u003cbr\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\"\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":47241668932,"sku":"","price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Lost_Lake.jpg?v=1521586309"},{"product_id":"fiona-hile-subtraction","title":"Fiona Hile, Subtraction","description":"\u003cstrong\u003eWinner of the 2017 Helen Anne Bell Poetry Award\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHighly Commended in the Victorian Premier's Literary Awards (2019)\u003c\/strong\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eTaking its cues from Rimbaud’s call for the reinvention of love, \u003cem\u003eSubtraction\u003c\/em\u003e tours the hologrammatic labyrinths of the English language to ask again: What is love? And what does the other want? From the courtly inventions of the letters of Abelard and Heloise through the ‘mystical jaculations’ of thirteenth century saints, to the philosophy and science wars of the latter-day bugs, these poems set out from the immobilising imperatives of loving encounters to inscribe themselves in the archival becoming-truths of their own ceaseless wanderings. Gorging and resisting, feasting and refusing, \u003cem\u003eSubtraction\u003c\/em\u003e smorgasbords fusional, ablative and illusory accounts of love only to find that literature impedes romantic progress, imprisons hopes, and forestalls invention, so that ‘she who has come to us at last in its pages, loves us no better in real life’. In the process of doing this, it finds new ways of encountering its perilous selves, in the provision of curiously assembled tools with which to measure and to shape. \u003c\/p\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\u003cspan\u003e'\u003cem\u003eSubtraction\u003c\/em\u003e is Hile's syntactical sublime in full lyric reboot, ecstatic as science fiction and alien as love.' - Astrid L'Orange\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cstrong\u003eFiona Hile\u003c\/strong\u003e’s first full-length collection, \u003cem\u003eNovelties\u003c\/em\u003e (Hunter 2013), was awarded the 2014 NSW Premier’s Literary Awards Kenneth Slessor Prize for Poetry. In 2012, she won the Gwen Harwood Poetry Prize with “Bush Poem With Subtitles” and was awarded second place in the Overland Judith Wright Poetry Prize for “The Owl of Lascaux”. Her second collection, \u003cem\u003eSubtraction\u003c\/em\u003e, was awarded the 2017 Helen Anne Bell Poetry Bequest for an unpublished manuscript.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Helen Anne Bell Poetry Award\u003c\/strong\u003e, administered by the Department of English at the University of Sydney, is unique. It offers a generous prize of $5000 and publication with Vagabond Press for an unpublished full-length poetry manuscript by an Australian woman. This is the second time the prize has been awarded. Three distinguished Australian women poets, Pam Brown, Gig Ryan and Kate Lilley, selected the shortlist from an astonishingly rich and diverse field of 90 manuscripts.\u003c\/p\u003e\nFiona Hile, \u003cem\u003eSubtraction\u003c\/em\u003e\u003cbr\u003e \u003cspan\u003e2018. 148mm x 210mm. 70pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN 978-1-925735-02-4\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/iafr\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":47241729860,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Hile_Cover.jpg?v=1514081238"},{"product_id":"peter-boyle-title-enfolded-in-the-wings-of-a-great-darkness","title":"Peter Boyle, Enfolded in the wings of a great darkness","description":"\u003cp\u003e\u003cstrong\u003eWinner of the Kenneth Slessor Award for Poetry in the 2020 NSW Premier's Literary Awards.\u003c\/strong\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan class=\"d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa fgxwclzu a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m\" dir=\"auto\"\u003eShortlisted in the QLD Literary Awards' Judith Wright Calanthe Award\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe 2020 NSW Premier's Literary Awards judges noted: \"\u003cem\u003eEnfolded in the wings of a great darkness \u003c\/em\u003eis an extraordinary book-length poem by poet and translator Peter Boyle. The work is a sustained study of life and death, and all that goes on in between. Written during the terminal illness of his partner, Deborah Bird Rose, the book traverses joy and grief in all their shades of dark and light. Boyle explodes the physical and spiritual world around him as he is confronted with the end of life in the one he loves. In this deeply affecting work, he channels the pain and wonder of what it means to live and to be human in a transient world. The form of the long poem is successfully ekes out each word creating a ‘celebratory emptiness’ that throbs with all its possibilities.\"\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e'Enfolded in the Wings of a Great Darkness \u003c\/em\u003eis a journey of sorts; neither linear nor heroic, but certainly profound. It is a struggle between dark and dark. How to interpret the suffering of another, of the Earth, and of oneself? Whereas other poets have found ways to bear witness to telluric presence through language, Boyle is working at the hinge where psychic and material reality meet'\u003ca href=\"https:\/\/sydneyreviewofbooks.com\/review\/boyle-enfolded-wings-great-darkness\/\" target=\"_blank\"\u003e Sydney Review of Books\u003c\/a\u003e\u003c\/p\u003e\n\u003cdiv dir=\"auto\" style=\"text-align: start;\"\u003e'Enfolded in the wings of a great darkness' is an extraordinary book-length poem by poet and translator Peter Boyle. The work is a sustained study of life and death, and all that goes on in between ... Boyle explodes the physical and spiritual world around him as he is confronted with the end of life in the one he loves. In this deeply affecting work, he channels the pain and wonder of what it means to live and to be human in a transient world.'\u003c\/div\u003e\n\u003cdiv dir=\"auto\" style=\"text-align: start;\"\u003e(Winner of 2020 NSW Premier's Literary Award for Poetry - judges' report)\u003c\/div\u003e\n\u003cdiv dir=\"auto\" style=\"text-align: start;\"\u003e\u003c\/div\u003e\n\u003cdiv dir=\"auto\" style=\"text-align: start;\"\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan dir=\"auto\" class=\"d2edcug0 hpfvmrgz qv66sw1b c1et5uql oi732d6d ik7dh3pa fgxwclzu a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m\"\u003e'Undeniably profound, it knits its strength through frailty. It is aware of the mechanics within chance, how it sends out echoes in all directions' (from the QLD Literary Awards judges' comments)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePeter Boyle explains: \u003cem\u003eEnfolded in the wings of a great darkness\u003c\/em\u003e represents a new departure in my writing. It is a single book-length poem made up of fragments and shorter pieces in varied styles that build towards the last line, which is the book's title. I have aimed at a sparse, open simplicity in this book, a clarity and brevity sufficient to carry the weight of the space I am now in, with my illnesses, my partner's cancer and the acute sense of time's limits. The poems question what it might mean to live and write in the immediate knowledge of death, what response we can find when out of the blue we, or the one we love, are told we have a very limited time, three or five years, to live. At the artistic as well as the personal level, there is also a need for balance in the work, as beauty, tenderness, the presence of the natural world, light as well as dark, insist on their place in the poem. \u003cem\u003eEnfolded in the wings of a great darkness\u003c\/em\u003e represents a new challenge for me as a poet - the quest for an intensity and clarity strong enough to let simple things resonate, creating poems that are spacious and open. More than in any previous work I have sought to unpack everyday expressions, to probe language, to understand our shared endeavour to come to terms with mortality not as any abstract truth but as it confronts us personally once it enters our life. The construction of a book-length poem of philosophic reflection has required the creation of sufficient space around each fragment to enable it to resonate fully. A poem of this length also needed the development of an energy, a larger rhythm, to carry the reader through to the end.’ Peter Boyle\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003cspan\u003ePeter Boyle is a Sydney-based poet and translator of poetry. He is the author of seven books of poetry, most recently \u003cem\u003e\u003ca href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-ghostspeaking\"\u003eGhostspeaking\u003c\/a\u003e\u003c\/em\u003e which won the 2017 Kenneth Slessor Prize and was shortlisted for the Adelaide Festival Award for Poetry. In 2017 he was also awarded the Philip Hodgins Memorial Medal for Excellence in Literature. Other poetry collections by Peter Boyle include \u003cem\u003eTowns in the Great Desert\u003c\/em\u003e (2013), \u003ca href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-apocrypha-texts-collected-and-translated-by-william-o-shaunessy\"\u003e\u003cem\u003eApocrypha\u003c\/em\u003e\u003c\/a\u003e (2009) which won the Queensland Premier's Prize and the Judith Wright (ACT) Award, \u003cem\u003eMuseum of Space\u003c\/em\u003e (2004) and \u003cem\u003eThe Blue Cloud of Crying\u003c\/em\u003e (1997) which won the Adelaide Festival Award and the National Book Council (Banjo) Award. Peter Boyle's poetry has appeared in journals, poetry magazines, ezines and books in the United States, Ireland, the United Kingdom, France, Mexico, Colombia, Nicaragua, Macedonia, Germany, Sweden and China. He has presented his poetry at International Festivals in Colombia, Venezuela, France, Canada, Macedonia, Nicaragua and El Salvador. His poems have been translated into Spanish, French, German, Macedonian, Swedish, Vietnamese and Chinese. As a translator of poetry from Spanish and French he has had six books published. His translations of poetry by José Kozer, Marosa di Giorgio, Olga Orozco, Eugenio Montejo and René Char, among others, have appeared in anthologies, magazines and journals in England, the United States and Australia. Recent books as a translator include \u003ca href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/marosa-di-giorgio-jasmine\"\u003e\u003cem\u003eJasmine for Clementina Médici\u003c\/em\u003e\u003c\/a\u003e by Marosa di Giorgio and \u003ca href=\"https:\/\/vagabondpress.net\/collections\/americas\/products\/poems-of-olga-orozco-marosa-di-giorgio-jorge-palma-america-series-1\"\u003e\u003cem\u003ePoems of Olga Orozco, Marosa di Giorgio, Jorge Palma\u003c\/em\u003e \u003c\/a\u003e(2017), and \u003cem\u003eÍndole\/Of Such A Nature by José Kozer\u003c\/em\u003e due out in April 2018 from University of Alabama Press. In 2013 Peter received the New South Wales Premier's Prize for Literary Translation. Peter has recently completed a Doctorate of Creative Arts at Western Sydney University, focussing on the relationship between the tradition of heteronymous poetry and poetry translation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePeter Boyle, \u003cem\u003eEnfolded in the wings of a great darkness\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2019. 148mm x 210mm. 82pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-04-8\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/online.anyflip.com\/wuapt\/mtmb\/index.html\" style=\"width: 550px; height: 350px;\" allowfullscreen=\"true\" allowtransparency=\"true\" scrolling=\"no\" seamless=\"seamless\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\" alt=\"\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":47241817860,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Boyle_cover_front_cover.jpg?v=1550830970"},{"product_id":"lk-holt-birth-plan","title":"LK Holt, Birth Plan","description":"\u003cp\u003e\u003cstrong\u003eShortlisted for the Victorian Premier's Award for Poetry 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShortlisted for the Prime Minister's Literary Award for Poetry 2020\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBirth Plan\u003c\/em\u003e is LK Holt’s fourth full-length collection is a generous, sharp-edged, technically masterful and expansive collection from one of Australia’s foremost female poets. These poems are transformative, fiercely feminist, unrelenting in their clarity, and display a rare mastery of the musicality of language. Exploring the realities of mothering and loving in the late Anthropocene, Holt’s work is rigorous in its exploration and evocation of psychological truths and half-truths. Fearless and darkly humorous, these are poems that turn on a phoneme and give full life and song to the shimmering uncertainties and hard realities of selfhood.\u003c\/p\u003e\n\u003cp\u003eLK Holt lives in Melbourne, Australia. Her previous full-length collections are \u003cem\u003eMan Wolf Man\u003c\/em\u003e (2007), \u003cem\u003ePatience, Mutiny\u003c\/em\u003e (2010), and \u003cem\u003eKeeps\u003c\/em\u003e (2014). She is a recipient of the Kenneth Slessor Prize and the Grace Leven Prize, and has been longlisted for the Literature Society Gold Medal.\u003c\/p\u003e\n\u003cp\u003eLK Holt, \u003cem\u003eBirth Plan\u003c\/em\u003e\u003cbr\u003e2019. \u003cspan\u003e148mm x 210mm. 98pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan\u003eISBN 978-1-925735-07-9\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eRelease date: TBA.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ciframe style=\"width: 550px; height: 350px;\" src=\"https:\/\/online.anyflip.com\/wuapt\/nulv\/index.html\" seamless=\"seamless\" scrolling=\"no\" allowtransparency=\"true\" allowfullscreen=\"true\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":4986990886949,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Holt_cover_drafts.jpg?v=1549600246"},{"product_id":"thom-sullivan-carte-blanche","title":"Thom Sullivan, Carte Blanche","description":"\u003cstrong\u003eWinner of the Noel Rowe Poetry Award 2017-8.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWinner of the Mary Gilmore Award 2020.\u003c\/strong\u003e \u003cbr\u003eThom Sullivan’s debut collection of poems, \u003cem\u003eCarte Blanche\u003c\/em\u003e, traverses the exactitudes of place and time – from a distinctively Australian suburbia, to farming landscapes in South Australia’s Mount Lofty Ranges, to Australia’s renowned Great Ocean Road, and the interior terrains of consciousness and perception. The poems are memorable, succinct in their expression, precise in their effect, and notable for their innovative use of syntax and punctuation. \u003cem\u003eCarte Blanche\u003c\/em\u003e is a collection of poems that’s finely realised and keenly felt.\n\u003cp\u003e'Sullivan presents a sharp collection of quietly spoken poems dealing with the complexities of human relationships in a vanishing world. The manuscript has considerable formal variety from spoken interior monologues and reflections to a series of imagistic notations. It also demonstrates a thoughtful and exciting use of punctuation and syntax.' (From the NRPA Judges' report)\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: #000000;\"\u003e‘\u003cem\u003eCarte Blanche\u003c\/em\u003e is an arresting calling-card, and – for me – it is one of this year’s most exciting poetic débuts.’\u003c\/span\u003e David McCooey in \u003cem\u003eABR\u003c\/em\u003e.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThom Sullivan\u003c\/strong\u003e was born in 1982. He grew up on a farm in Wistow\/Bugle Ranges in the Adelaide Hills in South Australia and studied Arts and Law at the University of Adelaide, and Social Science at Swinburne University, Melbourne. He had a short collection of poems, \u003cem\u003eAirborne\u003c\/em\u003e, published in \u003cem\u003eNew Poets 14 \u003c\/em\u003e(Wakefield, 2009). Since then he has edited or co-edited seven published books of poetry. His poems have appeared in a range of books and journals, including \u003cem\u003eThe Best Australian Poems \u003c\/em\u003e(Black Inc, 2014 \u0026amp; 2015), \u003cem\u003eAustralian Love Poems \u003c\/em\u003e(Inkerman \u0026amp; Blunt), \u003cem\u003eCordite\u003c\/em\u003e, \u003cem\u003eTransnational Literature\u003c\/em\u003e, \u003cem\u003eOtoliths\u003c\/em\u003e, \u003cem\u003eTincture\u003c\/em\u003e, \u003cem\u003eThe Independent Weekly\u003c\/em\u003e, \u003cem\u003eEureka Street \u003c\/em\u003eand \u003cem\u003eAustralian Book Review \u003c\/em\u003e(the 2016 South Australian 'States of Poetry' anthology). He lives in Adelaide, where he works in public policy.\u003c\/p\u003e\n\u003cp\u003eThom Sullivan, \u003cem\u003eCarte Blanche \u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e2019. 148mm x 210mm. 70pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-03-1\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ciframe src=\"https:\/\/online.anyflip.com\/wuapt\/pnsp\/index.html\" style=\"width: 550px; height: 350px;\" allowfullscreen=\"true\" allowtransparency=\"true\" scrolling=\"no\" seamless=\"seamless\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":4987057733669,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Sullivan_cover.jpg?v=1549600449"},{"product_id":"natalie-harkin-archival-poetics","title":"Natalie Harkin, Archival-Poetics","description":"\u003cp\u003e\u003cstrong\u003eWinner of the 2020 Kate Challis RAKA Award.\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWinner of the John Bray Poetry Award in the 2020 SA Festival Awards. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShortlisted for the Kenneth Slessor Poetry Award in the 2020 NSW Premier's Awards. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHighly commended in the 2020 Victorian Premier's Awards.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/elFMjtL79qI\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" width=\"560\" height=\"315\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eArchival-Poetics\u003c\/em\u003e is an embodied reckoning with the State’s colonial archive and those traumatic, contested and buried episodes of history that inevitably return to haunt; a way of knowing and being in the world that carries us lovingly back and forward and back again toward something else restorative\/ transformed\/ honouring\/ just. Family records at the heart of this work highlight policy measures targeting Aboriginal girls for removal into indentured domestic labour, and trigger questions on surveillance, representation and agency. This is a shared story; a decolonising project through poetic refusal, resistance and memory-making. It is our memory in the blood, and it does not always flow easily.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eDr Natalie Harkin is a Narungga woman and activist-poet from South Australia. She is a Research Fellow at Flinders University with an interest in decolonising state archives, currently engaging archival-poetic methods to research and document Aboriginal women’s domestic service and labour histories in SA. Her words have been installed and projected in exhibitions comprising text-object-video projection, including creative-arts research collaboration with the Unbound Collective. She has published widely, including with literary journals \u003cem\u003eOverland, Westerly, Southerly, Wasafiri International Contemporary Writing, TEXT\u003c\/em\u003e and \u003cem\u003eCordite\u003c\/em\u003e. Her first poetry collection, \u003cem\u003eDirty Words\u003c\/em\u003e, was published by Cordite Books in 2015.  \u003cbr\u003e\u003cbr\u003e‘Addictive poetry. This book heals and haunts. Real and unexpected. A stunning achievement.’ Ellen Van Neerven\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e'Archival-Poetics\u003c\/em\u003e was deemed a landmark piece of Australian poetry by the judging panel.  Rooted in archival interrogation and historical reflection, the collection is a critical and timely piece that examines the origins of contemporary Australia.\u003c\/p\u003e\n\u003cp\u003eThe judges were struck by the overall cohesiveness of the text and the manner in which Harkin weaved the archival, the familial and the political within the poetic form. They described it as: brave, innovative and challenging.' \u003ca href=\"https:\/\/about.unimelb.edu.au\/newsroom\/news\/2020\/december\/reckoning-with-australias-colonial-archive-poet-natalie-harkin-wins-raka-prize\"\u003eWINNER of the 2020 Kate Challis RAKA Award\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan id=\"article\" aria-hidden=\"false\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003ca href=\"https:\/\/www.sl.nsw.gov.au\/awards\/kenneth-slessor-prize-poetry\/2020-shortlisted-archival-poetics-natalie-harkin\"\u003eNSW Premier's Literary Awards\u003c\/a\u003e judges commented, '\u003cem\u003eArchival-Poetics\u003c\/em\u003e boldly reckons with traumatic histories of colonisation, the stolen generations and forced domestic labour. For Harkin, these histories are intimate. Her poetry draws deeply on her Nanna’s state archive records, weaving traces of haunting, missing narratives and accounts of state surveillance into richly conceived and fully-realised poems that remember, reconnect, and restore the loving bonds of blood-memory that beat across time.'\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'helvetica neue', helvetica, arial, verdana, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #000000;\"\u003e'\u003cspan style=\"-webkit-text-stroke-width: 0px; background-color: rgba(255, 255, 255, 0.658824); caret-color: #626262; float: none; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; text-align: start; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; display: inline !important;\"\u003eAlthough Harkin does not mention \"indigenisation\" in her writing, she is in effect indigenising the colonial archives. She is bringing her voice and that of others to bear on what was and continues to be deposited by the ruling classes over the last 230 plus years. Each page that turns brings forth those long forgotten by those who would oppress them, never forgotten by their descendants. The language Harkin uses is not conventionally poetic in form, it is full of gaps and gasps, repetitions, stutterings, a channelling of the women and girls who were forced to be what they were not and had no wish to be. The archons ignored the fundamental aspects of humanity at their peril and documented that ignorance. Harkin restores humanity to her subjects through her weaving of words and images.' Judy Annear in NZ-based journal \u003cem style=\"caret-color: #202020; color: #202020; font-family: 'helvetica neue', helvetica, arial, verdana, sans-serif; font-size: 14px; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003ca href=\"https:\/\/minarets.info\/apocrypha-archival-poetics-natalie-harkin\/\" style=\"color: #007c89; font-weight: normal; text-decoration: underline;\" target=\"_blank\"\u003e\u003cspan style=\"color: #000000;\"\u003emin-a-rets.\u003c\/span\u003e\u003c\/a\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eNatalie Harkin, \u003cem\u003eArchival-Poetics\u003c\/em\u003e\u003cbr\u003e2019. Second printing 2020. 128mmx178mm. 3 chapbooks in slipcase. 17 images. 112pp (38pp; 42pp; 32pp). \u003cbr\u003eISBN 978-1-925735-21-5\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/online.anyflip.com\/wuapt\/ahpl\/index.html\" style=\"width: 550px; height: 350px;\" allowfullscreen=\"true\" allowtransparency=\"true\" scrolling=\"no\" seamless=\"seamless\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eOur thanks to Australian poet Peter Boyle for providing funding that made the 2020 second printing in the original full-colour chapbook form possible.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_large_rgb-543227504d3b3_medium.jpg?v=1501372188\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":9740599296052,"sku":"","price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/IMG_5002.jpg?v=1599889580"},{"product_id":"melinda-bufton-moxie","title":"Melinda Bufton, Moxie","description":"\u003cp\u003e\u003cstrong\u003eWinner of the 2019 Helen Anne Bell Poetry Bequest Award\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eMoxie\u003c\/em\u003e traverses the office landscape of our collective psyche, restlessly moving between the interior monologue of daily ruminations and epic-like career narratives lying in wait. The hustle gives way to survival, cresting back into gritty victories via the feminist acquisition of corporate language. Open-plan everything, filing cabinets bursting; the promise of the ladder, beckoning you in.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003eThis book is the business! Smart-mouthed, pussy-bowed, funny\/not-funny. Pitch perfect ‘filthy snippets’ of office lore and career advice.\u003c\/em\u003e Kate Lilley\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003eMelinda Bufton is a Melbourne poet. Her work has appeared in many publications including \u003c\/span\u003e\u003cem style=\"font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003eCordite, Southerly, Axon \u003c\/em\u003e\u003cspan style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003eand\u003c\/span\u003e\u003cem style=\"font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003e Rabbit\u003c\/em\u003e\u003cspan style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003e and was anthologized in \u003c\/span\u003e\u003cem style=\"font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003eContemporary Australian Feminist Poetry\u003c\/em\u003e\u003cspan style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003e (Hunter Publishers, 2016) and \u003c\/span\u003e\u003cem style=\"font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003eContemporary Australian Poetry\u003c\/em\u003e\u003cspan style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003e (Puncher \u0026amp; Wattman, 2016). She holds a PhD from RMIT University, where she researched feminist poetics through creative practice.  In 2019 she was awarded the Helen Anne Bell Poetry Bequest Award\u003c\/span\u003e\u003cspan style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003e for the manuscript \u003ci\u003eMoxie, \u003c\/i\u003eresulting in its 2020 publication by Vagabond Press. Her previous poetry collections are \u003c\/span\u003e\u003cem style=\"font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003eGirlery\u003c\/em\u003e\u003cspan style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003e (Inken Publisch, 2014) and \u003c\/span\u003e\u003cem style=\"font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003eSuperette\u003c\/em\u003e\u003cspan style=\"font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px;\"\u003e (Puncher \u0026amp; Wattmann, 2018).\u003c\/span\u003e\u003c\/span\u003e \u003cbr\u003e  \u003cbr\u003e\u003cspan style=\"caret-color: #333333; color: #333333; font-family: Apercu, Helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none; display: inline !important; float: none;\"\u003ePresented by the Department of English \u003c\/span\u003e\u003cspan style=\"caret-color: #333333; color: #333333; font-family: Apercu, Helvetica, sans-serif; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none; display: inline !important; float: none;\"\u003eat the University of Sydney, this award offers a cash prize of $7000 and publication with Vagabond Press of a collection of poems between 50-80 pages by an Australian woman poet. It is made possible by a generous bequest to the University by Helen Anne Bell. \u003c\/span\u003e \u003cbr\u003e \u003c\/p\u003e\n\u003cp\u003eMelinda Bufton, \u003cem\u003eMoxie \u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e2020. 148mm x 210mm. 70pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-19-2\u003cbr\u003e\u003cspan\u003eRelease date: TBA.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRelated links\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ca href=\"https:\/\/sydney.edu.au\/arts\/news-and-events\/news\/2019\/12\/05\/winner-of-2019-helen-anne-bell-poetry-bequest-award-announced.html\"\u003eAnnouncement of the 2019 Helen Anne Bell Poetry Bequest Award\u003c\/a\u003e. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n  \u003ciframe src=\"https:\/\/online.anyflip.com\/wuapt\/ssqa\/index.html\" style=\"width: 550px; height: 350px;\" allowfullscreen=\"true\" allowtransparency=\"true\" scrolling=\"no\" seamless=\"seamless\" frameborder=\"0\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":31518789009460,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Bufton_-_Moxie_cover3.jpg?v=1599946766"},{"product_id":"peter-boyle-notes-towards-the-dreambook-of-endings","title":"Peter Boyle, Notes Towards the Dreambook of Endings.","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cspan\u003eShortlisted for the John Bray Poetry Award 2022\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003c\/strong\u003eAgainst the backdrop of a world in crisis these poems speak of grief and beauty, of spirituality and resilience. Poems responding to nature, ekphrastic poems and meditations on the randomness of fate sit alongside more personal poems of loss, while in the title sequence dream narratives are interspersed with often short, highly visual poems in an extended questioning of what it means to live and write in the face of mortality.\u003c\/p\u003e\n\u003cp\u003e\"We all write our own dreambook – endings, beginnings, what is on-the-way. Boyle urges us to do so with enthralled attention, with care for our lives, our deaths and what is in the middle, our daily – indeed blink-of-an-eye – transformations. Notes, by their modest nature, are made to be left, found, carried:\u003c\/p\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eToday the house is still\u003cbr\u003e and, in my shirt pocket, memory places\u003cbr\u003e the note to collect from the Dry Cleaners the trousers\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ewith the hole to be mended\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003ein the right pocket where my life might\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"padding-left: 30px;\"\u003eany moment slip through.\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAnd though ‘(o)ur hands [might often be] filled with loss and jagged \/ explosions of strangeness’, I would recommend that with full advantage of the note’s \u003cem\u003eease of transport \u003c\/em\u003eyou take Boyle’s words, tucked this time within the pocket of your heart, into the soul-searching that is our enduring and ‘eternal miracle’.\" MTC Cronin\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePeter Boyle is a Sydney-based poet and translator of poetry. He is the author of seven books of poetry, most recently \u003ca href=\"https:\/\/vagabondpress.net\/collections\/facebook\/products\/peter-boyle-title-enfolded-in-the-wings-of-a-great-darkness\" target=\"_blank\"\u003e\u003cem\u003eEnfolded in the Wings of a Great Darkness\u003c\/em\u003e\u003c\/a\u003e, which won the 2020 Kenneth Slessor Prize, \u003cem\u003e\u003ca href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-ghostspeaking\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-ghostspeaking\"\u003eGhostspeaking\u003c\/a\u003e\u003c\/em\u003e which won the 2017 Kenneth Slessor Prize and was shortlisted for the Adelaide Festival Award for Poetry. In 2017 he was also awarded the Philip Hodgins Memorial Medal for Excellence in Literature. Other poetry collections by Peter Boyle include \u003cem\u003eTowns in the Great Desert\u003c\/em\u003e (2013), \u003ca href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-apocrypha-texts-collected-and-translated-by-william-o-shaunessy\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/peter-boyle-apocrypha-texts-collected-and-translated-by-william-o-shaunessy\"\u003e\u003cem\u003eApocrypha\u003c\/em\u003e\u003c\/a\u003e (2009) which won the Queensland Premier's Prize and the Judith Wright (ACT) Award, \u003cem\u003eMuseum of Space\u003c\/em\u003e (2004) and \u003cem\u003eThe Blue Cloud of Crying\u003c\/em\u003e (1997) which won the Adelaide Festival Award and the National Book Council (Banjo) Award. Peter Boyle's poetry has appeared in journals, poetry magazines, ezines and books in the United States, Ireland, the United Kingdom, France, Mexico, Colombia, Nicaragua, Macedonia, Germany, Sweden and China. He has presented his poetry at International Festivals in Colombia, Venezuela, France, Canada, Macedonia, Nicaragua and El Salvador. His poems have been translated into Spanish, French, German, Macedonian, Swedish, Vietnamese and Chinese. As a translator of poetry from Spanish and French he has had six books published. His translations of poetry by José Kozer, Marosa di Giorgio, Olga Orozco, Eugenio Montejo and René Char, among others, have appeared in anthologies, magazines and journals in England, the United States and Australia. Recent books as a translator include \u003ca href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/marosa-di-giorgio-jasmine\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/poetry\/products\/marosa-di-giorgio-jasmine\"\u003e\u003cem\u003eJasmine for Clementina Médici\u003c\/em\u003e\u003c\/a\u003e by Marosa di Giorgio and \u003ca href=\"https:\/\/vagabondpress.net\/collections\/americas\/products\/poems-of-olga-orozco-marosa-di-giorgio-jorge-palma-america-series-1\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/americas\/products\/poems-of-olga-orozco-marosa-di-giorgio-jorge-palma-america-series-1\"\u003e\u003cem\u003ePoems of Olga Orozco, Marosa di Giorgio, Jorge Palma\u003c\/em\u003e\u003c\/a\u003e(2017), and \u003cem\u003eÍndole\/Of Such A Nature by José Kozer\u003c\/em\u003e due out in April 2018 from University of Alabama Press. In 2013 Peter received the New South Wales Premier's Prize for Literary Translation. Peter has recently completed a Doctorate of Creative Arts at Western Sydney University, focussing on the relationship between the tradition of heteronymous poetry and poetry translation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePeter Boyle, \u003cem\u003eNotes Towards the Dreambook of Endings\u003c\/em\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2020. 148mm x 210mm. 144pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-20-8\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":37170898960541,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/BoyleDreambookcover.jpg?v=1609454269"},{"product_id":"bella-li-theory-of-colours","title":"Bella Li, Theory of Colours","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eJoint winner of the Tafeda Best Designed Independent Book in the 70th Australian Book Design Awards 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eShortlisted for the Small Press Network Book of the Year 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eShortlisted in the NSW Premier's Literary Awards 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e'\u003cem data-mce-fragment=\"1\"\u003eTheory of Colours\u003c\/em\u003e is an impressive production, speaking to what Foucault called the necessity of conjuncture, two intensities coming together, a book that is constructed as much as it is written. Bella Li brings the visual and the verbal into contact to challenge the boundaries of poetry and visual design.' \u003cstrong\u003eSPN Book of the Year 2022 shortlist\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'Mesmerising and uncompromising, Bella Li’s \u003cem\u003eTheory of Colours\u003c\/em\u003e arrests readers with its strangeness. Through its collaging and arrangement of diverse textual and visual elements, Li’s book provides an extended meditation on the relationship between absence and presence, margin and centre, appearance and disappearance. This is a work of uncanny poetic framing, where the recombination of source materials — historic images, found texts, and Li’s own haunted words — generates a series of extraordinary and phantasmagorial new worlds.' \u003cstrong data-mce-fragment=\"1\"\u003eNSW Premier's Literary Awards  \u003c\/strong\u003e(\u003ca data-cke-saved-href=\"https:\/\/www.sl.nsw.gov.au\/awards\/kenneth-slessor-prize-poetry\/2022-shortlisted-theory-colours\" href=\"https:\/\/www.sl.nsw.gov.au\/awards\/kenneth-slessor-prize-poetry\/2022-shortlisted-theory-colours\" target=\"_blank\"\u003eread more\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e'There is beauty in the restraint of the design of \u003cem\u003eTheory of Colours\u003c\/em\u003e. Bella Li's sensitive use of colour has produced an elegant and intriguing book. This is a page-turner for any designer lucky enough to thumb their way through the pages. An accomplished designer at work.' \u003cstrong data-mce-fragment=\"1\"\u003eAustralian Book Design Awards 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'There is a cosmic, melancholy weight to this collection that I find unsettling. And yet, there is a gentle matter-of-factness to Li’s writing that simultaneously reassures; a reminder of life and presence, someone’s voice travelling to meet you.' Sarah Yeung in\u003cstrong data-mce-fragment=\"1\"\u003e Westerly \u003c\/strong\u003e(\u003ca href=\"https:\/\/westerlymag.com.au\/theory-of-colours\/\"\u003eread more\u003c\/a\u003e)\u003cstrong data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'In this dance between reading and writing, Li shows us that the illuminated gap of the poetic play is manifold: meanings, signs and associations are generated by author and reader alike. It is open to delighting us in the way that Barthes said a photograph was open to animating him: \"this is what creates every adventure\".' Isabella Gullifer-Laurie in \u003cstrong\u003eMeanjin\u003c\/strong\u003e (\u003ca href=\"https:\/\/meanjin.com.au\/review\/contiguity\/\"\u003eread more\u003c\/a\u003e)\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e'With \u003cem\u003eTheory of Colours, \u003c\/em\u003eLi has levelled up the uncanny. Unnerving collages with gothic overtones give way to prose poems that are a tissue of references. The empty spaces of abandoned hotels and national parks, devoid of human life, create a sense of dislocation, and haunting. While nearly two years of lockdowns may or may not have shaped the artistic choices here, it is impossible not to associate these collages with the eerie, blank streets of our empty cities.' Joan Flemming in \u003cstrong\u003eAustralian Book Review\u003c\/strong\u003e (\u003ca href=\"https:\/\/www.australianbookreview.com.au\/abr-online\/current-issue\/969-november-2021-no-437\/8522-joan-fleming-reviews-capacity-by-lk-holt-and-theory-of-colours-by-bella-li\" data-cke-saved-href=\"https:\/\/www.australianbookreview.com.au\/abr-online\/current-issue\/969-november-2021-no-437\/8522-joan-fleming-reviews-capacity-by-lk-holt-and-theory-of-colours-by-bella-li\" target=\"_blank\"\u003eread more\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003eVisit the \u003ca href=\"https:\/\/www.thesaturdaypaper.com.au\/culture\/poetry\/2021\/03\/06\/bella-li\/161494920011206\"\u003eSaturday Paper\u003c\/a\u003e for a recent interview with Bella Li by Maddee Clark about \u003cem\u003eTheory of Colours\u003c\/em\u003e and visit \u003ca href=\"https:\/\/www.liminalmag.com\/interviews\/bella-li\"\u003eLiminal Magazine\u003c\/a\u003e for Robert Wood's 2018 interview.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe colours recorded by the spectroscope are the inverse of the true colours, which float in the pupil after the eye has closed.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTheory of Colours\u003c\/em\u003e takes as its title and point of departure the influential nineteenth-century treatise on colour by Johann Wolfgang Goethe. In Li’s third full-length collection, colour — and its absence — is at once subject, structural principle and medium. Moving from the distant past, through the fleeting, unstable present, and into a series of speculative futures, the book elaborates worlds both familiar and strange — a country estate, a small town, a grand hotel, a tower. Informed by the spectral practices of early photography and cinema, as well as the visual and thematic conventions of ghost stories, westerns and science fiction, Li’s narratives of text and image are unsettling explorations of sequence and time, absence and haunting. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBella Li\u003c\/strong\u003e is the author of \u003ci data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/vagabondpress.net\/products\/bella-li-argosy\" data-mce-fragment=\"1\" target=\"_blank\" data-mce-href=\"https:\/\/vagabondpress.net\/products\/bella-li-argosy\"\u003eArgosy\u003c\/a\u003e \u003c\/i\u003e(Vagabond Press, 2017), which won the Victorian Premier's Literary Award for Poetry and the Kenneth Slessor Prize, and was highly commended in the Anne Elder Award and commended in the Wesley Michel Wright Prize; \u003ca href=\"https:\/\/vagabondpress.net\/collections\/facebook\/products\/bella-li-lost-lake?_pos=1\u0026amp;_sid=ab97b744c\u0026amp;_ss=r\" data-mce-fragment=\"1\" target=\"_blank\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/facebook\/products\/bella-li-lost-lake?_pos=1\u0026amp;_sid=ab97b744c\u0026amp;_ss=r\"\u003e\u003ci data-mce-fragment=\"1\"\u003eLost Lake \u003c\/i\u003e\u003c\/a\u003e(Vagabond Press, 2018), shortlisted for the Judith Wright Calanthe Award; and \u003ci data-mce-fragment=\"1\"\u003e\u003ca href=\"https:\/\/vagabondpress.net\/collections\/new-releases\/products\/bella-li-theory-of-colours\" data-mce-fragment=\"1\" target=\"_blank\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/new-releases\/products\/bella-li-theory-of-colours\"\u003eTheory of Colours\u003c\/a\u003e \u003c\/i\u003e(Vagabond Press, 2021), shortlisted for the Kenneth Slessor Prize and joint winner of the Australian Book Design Association award for Best Designed Independent Book. Her first work \u003ca href=\"https:\/\/vagabondpress.net\/collections\/rare-object-series\/products\/bella-li-maps-cargo?_pos=3\u0026amp;_sid=70716b331\u0026amp;_ss=r\" data-mce-fragment=\"1\" target=\"_blank\" data-mce-href=\"https:\/\/vagabondpress.net\/collections\/rare-object-series\/products\/bella-li-maps-cargo?_pos=3\u0026amp;_sid=70716b331\u0026amp;_ss=r\"\u003e\u003cem data-mce-fragment=\"1\"\u003eMaps, Cargo\u003c\/em\u003e\u003c\/a\u003e appeared as part of the Rare Object Series. Her poetry, artwork, short fiction, essays, and reviews, have been published widely, including in the \u003ci data-mce-fragment=\"1\"\u003eAustralian Book Review\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eOverland\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eGoing Down Swinging\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003ePeril\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eRabbit\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eLiminal\u003c\/i\u003e, \u003ci data-mce-fragment=\"1\"\u003eThe Kenyon Review\u003c\/i\u003e, and the \u003ci data-mce-fragment=\"1\"\u003eArchives of American Art Journal\u003c\/i\u003e. Recent work can be found in \u003ci data-mce-fragment=\"1\"\u003eMeanjin \u003c\/i\u003e(Winter 2021), \u003ci data-mce-fragment=\"1\"\u003eNew Directions in Contemporary Australian Poetry \u003c\/i\u003e(Palgrave, 2021),\u003ci data-mce-fragment=\"1\"\u003e \u003c\/i\u003eand \u003ci data-mce-fragment=\"1\"\u003eArt Writing in Crisis \u003c\/i\u003e(Sternberg, 2021).\u003ci data-mce-fragment=\"1\"\u003e \u003c\/i\u003eShe holds a PhD from the University of Melbourne, and is the associate publisher at Cordite Books and the managing editor at Scribe Publications. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eAuthor photo credit: Leah Jing McIntosh, 2018. \u003ca href=\"https:\/\/www.liminalmag.com\/\"\u003eLiminal Magazine.\u003c\/a\u003e\u003cspan style=\"caret-color: #000000; color: #000000; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; display: inline !important; float: none;\" data-mce-fragment=\"1\" data-mce-style=\"caret-color: #000000; color: #000000; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; display: inline !important; float: none;\"\u003e\u003c\/span\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eBella Li,\u003cem\u003e Theory of Colours\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e2021. 152mm x 228mm. 176pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-23-9\u003cbr\u003e\u003cspan\u003eRelease date: August 2021 \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_small_rgb-54322b14eed17_480x480.png?v=1600310698\" alt=\"\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":37330205606045,"sku":"","price":35.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Li_TheoryOfColours_cover.jpg?v=1649371069"},{"product_id":"vickery-bees","title":"Ann Vickery, Bees Do Bother","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eShortlisted for 2022 Judith Wright Calanthe Award for a Poetry\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'In \u003cem\u003eBees Do Bother\u003c\/em\u003e, poet Ann Vickery performs a kind of cultural studies that interrogates settler culture through the microcosm of the bee colony. Bees appear throughout the collection as specimen, motif, and homonyms. Vickery’s poems are urgent: they pulse as much with intelligence as with desire.' Queensland Literary Awards judges' report\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003eBees Do Bother: An Antagonist's Carepack\u003c\/em\u003e takes its cue from Leonardo da Vinci’s observation that the bee does not simply collect and use but digests and transforms. It considers firstly, how our understanding of social interactions might borrow from those of the more-thanhuman and secondly, that we need to reconceptualise existence as closely connected to the more-than-human. As Maurice Maeterlinck noted as far back as 1901, “If the bee disappeared off the face of the earth, man would only have four years left to live.” As its title suggests, the collection plays upon the dual meaning of bothering as an act of care as much as an act of disturbance. The central question driving \u003cem data-mce-fragment=\"1\"\u003eBees Do Bother\u003c\/em\u003e is: how might we creatively draw together these strands of care and activism? Taking a specifically feminist approach, the poetry collection considers how experiences of intimacy and labour have been shaped by cultural hierarchies and divisions around gender, race, capital, and nation. It explores how poetry might highlight existing social and ecological vulnerability and unsettle prescribed roles. In imaginatively teasing out and beginning the work of transforming relations, how might poetry lead to more sustainable forms of belonging and solidarity? \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cem\u003e'Bees Do Bother\u003c\/em\u003e is a remarkable and complex lyric invention, funny, fierce, simmering and spectral. Its shifting tectonics of syntax and reference are unflinching, often satiric yet rooted in deep principled concerns. In this powerful multivocal collection, readers will find themselves rethinking what it is to be human. What might bees and the non-human tell us, not just metaphorically but materially, about ourselves, our ways of organising work and relationships, our communities, and our vulnerabilities and complicities. With brilliance and intensity as well as tenderness, Ann Vickery reorients our gaze to ask how can we deal more ethically with our shaky knowledges, our often-shirked responsibilities and our perilous future that is already here.' Jill Jones\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAnn Vickery teaches writing and literature at Deakin University. She is the author of two poetry collections, \u003cem\u003eDevious Intimacy\u003c\/em\u003e (Hunter Publishers, 2015) and \u003cem\u003eThe Complete Pocketbook of Swoon\u003c\/em\u003e (Vagabond Press, 2014). She was the Australasian representative at the Poetry International Festival in Rotterdam in 2016, collaborated on the “Venetian Blind” installation at the 2019 Personal Structures: Identities exhibition in Venice, and collaborated with ClimActs at the Biennale of Australian Art in 2018. She has had poetry translated in Dutch, German, and Vietnamese and also published in the United States and the United Kingdom. Her work has been anthologised in a number of Best Australian Poems, shortlisted for two Helen Anne Bell Bequest Poetry Awards, and appeared in a number of national and international anthologies. She is also the author of two monographs, \u003cem\u003eLeaving Lines of Gender: A Feminist Genealogy of Language Writing\u003c\/em\u003e (Wesleyan University Press, 2000) and \u003cem\u003eStressing the Modern: \u003c\/em\u003e\u003cem\u003eCultural Politics in Australian Women’s Poetry\u003c\/em\u003e (Salt, 2007). \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAnn Vickery,\u003cem data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eBees Do Bother: An Antagonist's Carepack \u003c\/span\u003e\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2021. 148mm x 210mm. 80pp. \u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eISBN \u003c\/span\u003e978-1-925735-26-0\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRelease date: July 2021\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_small_rgb-54322b14eed17_480x480.png?v=1600310698\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_small_rgb-54322b14eed17_480x480.png?v=1600310698\" data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":37330247123101,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Vickerycover.jpg?v=1621546783"},{"product_id":"john-kinsella-supervivid-depastoralism","title":"John Kinsella, Supervivid Depastoralism","description":"\u003cp\u003e\u003cstrong\u003eShortlisted in the NSW Premier's Literary Awards 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e'Supervivid Depastoralism\u003c\/em\u003e reveals a multifaceted and restless mind at work, ranging through nightscapes, landscapes, and the cratered zones that colonisation leaves in its wake. The infinity of sheep grazing on a hillside, the misrecognised call of the boobook owl, the rock dragon, the yellow-plumed honeyeater: all demand new and self-reflexive poetic interaction. Kinsella pursues this through syntactical brilliance and deft imagery, allowing his richly observational mode to wholly refigure previously ‘settled’ relationships and subjectivities.' \u003cstrong data-mce-fragment=\"1\"\u003eNSW Premier's Literary Awards\u003c\/strong\u003e judges \u003ca data-cke-saved-href=\"https:\/\/www.sl.nsw.gov.au\/awards\/kenneth-slessor-prize-poetry\/2022-shortlisted-supervivid-depastoralism\" href=\"https:\/\/www.sl.nsw.gov.au\/awards\/kenneth-slessor-prize-poetry\/2022-shortlisted-supervivid-depastoralism\" target=\"_blank\"\u003eRead more\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eBook description: I don't sleep much or very well (I have a recent book of poetry entitled Insomnia!), but, when I do, I often have supervivid dreams. It is said that in the time of Covid-19, many people are speaking of having more vivid dreams than usual, and though the poems in this manuscript are not-specifically 'Covid-19 poems', at certain points of the manuscript they certainly make contact with this overwhelming reality and condition of crisis. But this is essentially a book in a lifecycle of trying to confront and consider the impacts of colonial agribusiness mono agricultural practices on Australia, and how it is or isn't possible to write about these issues within the conventions of the pastoral tradition of literature. Can 'pastoralism' and environmentalism intersect in meaningful ways or is it all a colonial ruse? As a committed environmentalist and human rights landrights justice campaigner, my poetry necessarily considers the place I work out of (largely wheatbelt Western Australia), and the problems of writing poetry 'about' rurality and ecology, as well as addressing the ongoing colonialism. This new book is an attempt to push my anti, post, counter, and radical pastoral to the point where it also becomes a means of considering where agricultural culpabilities intersect with personal histories and behaviours, where creativity that comes out of a critique of invasive and damaging wrongs is in itself up for question. So this is a work of self-critique, questioning, and also aspiration to vividly confront and find ways through this crisis of presence. The 'Australian Pastoral' is a construct, a propaganda device that suits all sorts of oppressive modes, and is easily a place to retreat into even when it is being questioned: I am trying to bring all this into eclogic discussion, to contest it further as part of a long and linguistically diverse process of contestation. This book 'connects' with other books on 'pastoral' I have written over the decades, including other recent work (in progress) on odes and eclogues (longer pieces largely) - but this is a collection of shorter poems. The book could be subtitled: Eclogix.\u003c\/p\u003e\n\u003cp\u003eJohn Kinsella is the author of over seventy books of poetry, fiction, criticism, plays, edited works (such as \u003cem\u003eThe Penguin Book of Australian Poetry\u003c\/em\u003e), and collaborative works. His many awards include the Australian Prime Minister’s Literary Award for Poetry, the Victorian Premier’s Award for Poetry, the John Bray Award for Poetry, the Judith Wright Calanthe Award for Poetry (twice) and the Western Australian Premier’s Award for Poetry (three times). Among his recent books published in Australia are \u003cem\u003eHollow Earth\u003c\/em\u003e (a novel: Transit Lounge, 2019), \u003cem\u003eLucida Intervalla\u003c\/em\u003e (a novel: UWA Publishing, 2018); \u003cem\u003eOn the Outskirts\u003c\/em\u003e (poetry: UQP, 2017), \u003cem\u003eOld Growth\u003c\/em\u003e (stories: Transit Lounge, 2017), \u003cem\u003eDrowning in Wheat: Selected Poems\u003c\/em\u003e (Picador, 2016), \u003cem\u003eCrow’s Breath\u003c\/em\u003e (stories: Transit Lounge, 2015) and \u003cem\u003eDisplaced: a rural memoir\u003c\/em\u003e (Transit Lounge, 2020). He is a Fellow of Churchill College, Cambridge University, and Professor of Literature and Environment at Curtin University (where he finishes December 31st, 2020). A frequent collaborator with other poets, writers, artist, musicians, and thinkers, he lives on Ballardong Noongar land at ‘Jam Tree Gully’ in the Western Australian wheatbelt (north of Toodyay). In 2007 he received the Christopher Brennan Award for Lifetime Achievement in Poetry.\u003c\/p\u003e\n\u003cp\u003eJohn Kinsella,\u003cem\u003e Supervivid Depastoralism\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e2021. 148mm x 210mm. 144pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-24-6\u003cbr\u003e\u003cspan\u003eRelease date: July 2021\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_small_rgb-54322b14eed17_480x480.png?v=1600310698\" alt=\"\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":37330282381469,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Kinsellacover.jpg?v=1621546469"},{"product_id":"eleanor-jackson-gravidity-and-parity","title":"Eleanor Jackson, Gravidity and Parity","description":"\u003cp\u003e\u003cstrong\u003eWINNER of the Small Press Network Book of the Year 2022 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHighly Commended in the 2022 Victorian Premier's Literary Awards\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHighly Commended in the ASAL Mary Gilmore Award 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'\u003cem\u003eGravidity and Parity\u003c\/em\u003e [...] [uses] poetry to shine a light into the isolation of pregnancy and birth. Poetry becomes a natural language for capturing everyday experiences in the strangeness of 2020. The slow time of lockdown intensified by the slow time of pregnancy creates an aura of noticing everything, while the hyper-vigilance of scanning the media environment in 2020 is a poignant juxtaposition to the hyper-awareness of the deep interiority of the pregnant body. The medicalisation of pregnancy resonates with the themes of the pandemic in interesting ways, reminding us how much life and death (in their strange intimate dance) is outside our control; sometimes it seems as though the whole of society is constructed to conceal this fact. So often in literature the pregnant body is a metaphor, representing myriad social anxieties and expectations about gender, humanity, the future. Here the body is the body, and the realities of pregnancy, labour, care and birth are relevant to the 100% of people who have ever been born. This is a deeply human and moving collection, and approachable for those who don’t usually read poetry.' \u003cstrong\u003eSPN Book of the Year 2022 judges.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eGravidity and Parity\u003c\/em\u003e explores the narrative opportunities of pregnancy loss, pregnancy and early motherhood set against the unfolding experience of the COVID 19 pandemic.\u003c\/p\u003e\n\u003cp\u003eWith bleak humour, crisp language and the intricate realities of the body, Gravidity and Parity considers the natal taboo while documenting the strange, performance of life celebrated, mourned, connected and disconnected under lockdown.\u003c\/p\u003e\n\u003cp\u003e'Eleanor Jackson’s \u003cem\u003eGravidity and Parity\u003c\/em\u003e sets up an intricate narrative structure that follows the progress of pregnancy, at first as a story of loss, and then another one of birth then early motherhood. The poems are as varied in form – verse and prose poem, scattered fragment and formal structure – as they are in theme, and the book is as animated and intense as the birth process it writes about. It’s not simply a book about pregnancy, however, as all life intrudes including the current pandemic. And, yes, of course, all of us have been birthed. The book, given its title, deftly counterpoises the idea of pregnancy and equality, in other words, what is equal and not equal in the process of childbearing, what contradictions and boundaries make up this process. Jackson skilfully tempers the technical with observational clarity, wit and irony. As she writes, ‘all living, \/ all love is mongrel work’. This bracing and moving book engages, sometimes fearlessly, then playfully, with what it means to make life in all its intricacies and intimacies.' \u003cstrong data-mce-fragment=\"1\"\u003eASAL Mary Gilmore Award 2022\u003c\/strong\u003e Judges' report\u003c\/p\u003e\n\u003cp\u003e'\u003cem data-mce-fragment=\"1\"\u003eGravidity and Parity\u003c\/em\u003e examines its subject broadly, deeply and maturely. It is likely to reward repeated reading' \u003cstrong\u003eWesterly\u003c\/strong\u003e (\u003ca href=\"https:\/\/westerlymag.com.au\/gravidity-and-parity\/\"\u003eread more\u003c\/a\u003e)\u003c\/p\u003e\n\u003cp\u003e'This collection pays tribute to the things that are \"blemished and fundamental.\" Those that cannot be contained by our meagre narratives about pregnancy and motherhood. Nor should they be. A book like this should be read by everyone who was mothered\/is mothered\/does mothering. By every body that has held another body within it. Or hopes to. Jackson expands on our ideas of pregnancy and motherhood, fully acknowledging the space between what we are told it should be, and what it actually is. By insisting on other ways, different stories, Jackson ushers us into a world that is terrible and beautiful in equal measures, and at the same time.' – Natalie Kon-yu \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eEleanor Jackson is a Filipino Australian poet, performer, arts producer and community radio broadcaster. She is the author of A Leaving (Vagabond Press) and her live album, One Night Wonders, is produced by Going Down Swinging. Eleanor is committed to developing and hosting events and experiences that showcase the diversity of both poetic language and writers and audiences. She is the producer of the Melbourne Poetry Map and a former Editor in Chief of Peril Magazine, Board Member of Queensland Poetry Festival and Vice-Chair of the Stella Prize. She is currently Chair of Peril Magazine, an online magazine committed to celebrating Asian Australian arts and culture.\u003c\/p\u003e\n\u003cp\u003eEleanor Jackson in conversation with Fiona Wallace as part of the SPN Book of the Year Award. \u003ca href=\"https:\/\/smallpressnetwork.com.au\/in-conversation-with-boty-shortlisted-author-eleanor-jackson\/\" target=\"_blank\"\u003eRead more ...\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eEleanor Jackson,\u003cem\u003e Gravidity and Parity\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e2021. 148mm x 210mm. 96pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-25-3\u003cbr\u003e\u003cspan\u003eRelease date: July 2021\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_small_rgb-54322b14eed17_480x480.png?v=1600310698\" alt=\"\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":37330292113565,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Jacksoncover.jpg?v=1621546254"},{"product_id":"tanikawa-shuntaro-ordinary-people","title":"Tanikawa Shuntarō, Ordinary People","description":"\u003cp\u003e\u003cstrong\u003eTranslated by Takako Lento.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShortlisted for the Lucien Stryk Asian Translation Prize 2022\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e‘Ordinary People by Tanikawa Shuntarō is a friendly invitation to people-watch. Weaving in and out of first- and third-person speakers, the poems offer glimpses into personal, everyday moments, with a few delightful pockets of absurdity. In one poem, someone washes his briefs and thinks he will not die. In another, someone imagines the dusk of Mars. The poems are a result of empathetic observation which hints at the interior lives of its subjects, encouraging us to fill in the rest. The down-to-earth translation by Takako Lento is expertly transparent, allowing the poet’s warm glance to come through without pretense.’ Judges' report\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOn its surface, \u003cem\u003eOrdinary People\u003c\/em\u003e is a leisurely account of people-watching. These people pass by us, one after another, occasionally remarking on their own circumstances and observations of life. These individuals collectively give us a kaleidoscopic mapping of the world we all live in, even though each is arrested in a moment in life that seems totally mundane or even absurd. But curiously we begin to feel empathy and share with them a thrill of mystery, joy of discovery, or even satisfaction in accepting the enigma of life, as we fill out ‘the scenes’. Through this process we watch these individuals, taken collectively, form an intriguingly cohesive universe, just as thousands of miniature photos can create a photo-mosaic portrait. In the end we realize that Tanikawa has forged a picture of humanity in our times, out of a casual parade of ‘ordinary’ people. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eTanikawa Shuntarō is one of the most widely read and highly regarded of living Japanese poets, both in Japan and abroad, and a frequent subject of speculation regarding the Nobel Prize in Literature. Winner of numerous awards, he has authored over 100 volumes of poetry, light verse, and word-play. In addition he published translations in many genres including the comic strip \u003cem\u003ePeanuts\u003c\/em\u003e and \u003cem\u003eMother Goose\u003c\/em\u003e rhymes. He has also produced a wide range of children’s books, essays, song lyrics, and scripts for radio, TV, and film. He lives in Tokyo.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTakako Lento translates poetry and prose from Japanese to English and vice versa. Her recent books of translation and critical essays include \u003cem\u003eTamura Ryu-ichi, on the Life and Work of a 20th Century Master (\u003c\/em\u003eco-ed. Wayne Miller); \u003cem\u003eThe Art of Being Alone: Tanikawa Shuntarō, Poems 1952 – 2009; Collected Haiku of Yosa Buson\u003c\/em\u003e (with W.S. Merwin); \u003cem\u003ePioneers of Modern Japanese Poetry,\u003c\/em\u003e and \u003cem\u003eButterfly\u003c\/em\u003e by Kashiwagi Mari. She lives in the United States.\u003c\/p\u003e\nTanikawa Shuntarō,\u003cem\u003e Ordinary People\u003c\/em\u003e\u003cbr\u003eTranslated by Takako Lento\u003cbr\u003e\u003cspan\u003e2021. 148mm x 210mm. 46pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-29-1\u003cbr\u003e\u003cspan\u003eRelease date: July 2021\u003cbr\u003e\u003c\/span\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv style=\"text-align: left;\" data-mce-style=\"text-align: left;\"\u003e\u003cimg style=\"margin: 0pxpx 10pxpx 0pxpx 0pxpx; float: left;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/shutterstock_397208941-2_240x240.jpg?v=1618608641\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/shutterstock_397208941-2_240x240.jpg?v=1618608641\" data-mce-style=\"margin: 0pxpx 10pxpx 0pxpx 0pxpx; float: left;\" width=\"240x240\" height=\"240x240\"\u003e\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFUNDED BY OUR READERS\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis collection was crowdfunded via \u003cbr data-mce-fragment=\"1\"\u003ethe 2021 Vagabond Press Survival Fund.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThank you to the generous souls who gave big and small. This book would not exist without you.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":39720819523741,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Tanikawa_cover_111dd504-46bf-4c8a-8166-acbd6e401526.jpg?v=1621547128"},{"product_id":"dan-disney-accelerations-inertias","title":"Dan Disney, accelerations \u0026 inertias","description":"\u003cp\u003e\u003cstrong\u003eWinner Kenneth Slessor Prize for Poetry in the NSW Premier's Literary Awards 2022\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eShortlisted for 2022 Judith Wright Calanthe Award for a Poetry\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e'\u003cem data-mce-fragment=\"1\"\u003eaccelerations \u0026amp; inertias\u003c\/em\u003e moves with the start-stop rhythm of a taxi battling traffic in Dan Disney’s adopted Seoul. Filled with that sprawling megalopolis’ vibrance and surprise, and steeped in Korea’s poetic traditions, this is a hyperactive book for a hyperactive age. ' Queensland Literary Awards judges' report\u003c\/p\u003e\n\u003cp\u003e'Dan Disney’s \u003cem\u003eaccelerations \u0026amp; inertias\u003c\/em\u003e dissects the psychogeography of information, knowledge and lived experience of place and time into glistening fragments. These fragments cluster into channels of almost-narrative, rethinking the vivid experience of humanity in a world that is simultaneously ancient and hyper-modern. The ‘I’ in these poems is a distiller and reshaper of observation, a protagonist exploring the ethics of knowledge and creative production in the time of digital capital. The balance in this collection between keen observation of ever-changing social modalities and a recognition of the internality of perception allows Disney to fashion a visionary poetics that delves into the nature of consciousness.  \u003cbr\u003e  \u003cbr\u003e The collection is energised by its respectful and adventurous engagement with the traditional Korean sijo form. Disney works on the edge of the sijo, testing its aphoristic nature, experimenting with machine translations and working to question and destabilise the reader’s relationship with language. In doing so Disney delivers language which is pared back, intricately crafted and committed to both questioning and recording the kinetic experience of the twenty-first century. This collection is utterly of its time, of the now, genuinely humanistic, deeply aware of place and the intricacies of responsibility and care. \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eaccelerations \u0026amp; inertias\u003c\/em\u003e balances mobility and stillness, gnomic contraction and allusive expansion, blazing ambition and idiosyncratic humour. The poems’ exploration of observing offers a radical consideration of the poetic ‘I’, and its place in the human and more-than-human worlds. All this is managed with deftness and aplomb, in a collection that is surprising, radical, provocative and tender. This is a book about poetry’s breath and its potential to open up the world in exhilarating ways.' \u003ca href=\"https:\/\/www.sl.nsw.gov.au\/awards\/kenneth-slessor-prize-poetry\/2022-winner-accelerations-inertias\"\u003eNSW Premier's Literary Awards judges\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e'Dan Disney's \u003cem\u003eaccelerations \u0026amp; inertias\u003c\/em\u003e is a remarkable work of self-critiquing, inverting hybridity. This is a restive book in which new skyscrapers and museums, temples and consumer fetishism are complementary, and not necessarily in tension. In these ‘distillations’ there is no quietism, and the ‘museum of the future’ is a question with fear and doubt in the air about it. The key to this work – the best of Disney’s, I think – remains the critique of a crisis of capital, a deep respect for environment, a deep respect for culture and its complexities, a wonder mixed with a toughness of observation and understanding of what being an observer means.'\u003c\/p\u003e\n\u003cp\u003eJohn Kinsella\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDan Disney's previous full-length collections are\u003cem\u003e and then when the\u003c\/em\u003e (2011), \u003cem\u003eMannequin’s Guide to Utopias\u003c\/em\u003e (2013), and \u003cem\u003eEither, Orpheus\u003c\/em\u003e (2016). Alongside an experimental verse novella, \u003cem\u003eReport from a border\u003c\/em\u003e (2016, co-devised with John Warwicker), he is the editor of \u003cem\u003eBeyond Babel\u003c\/em\u003e (2014), and co-edited \u003cem\u003eWriting to the Wire\u003c\/em\u003e (2016, with Kit Kelen) and \u003cem\u003eNew Directions in Contemporary Australian Poetry\u003c\/em\u003e (2021, with Matthew Hall). He teaches with the English Literature Program at Sogang University, in Seoul.\u003c\/p\u003e\n\u003cp\u003eDan Disney,\u003cem\u003e accelerations \u0026amp; inertias\u003c\/em\u003e\u003cbr\u003e\u003cspan\u003e2021. 148mm x 210mm. 80pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eISBN \u003c\/span\u003e978-1-925735-33-8\u003cbr\u003e\u003cspan\u003eRelease date: July 2021\u003c\/span\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":39721004957853,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Disneycover.jpg?v=1621545772"},{"product_id":"emilie-collyer-do-you-have-anything-less-domestic","title":"Emilie Collyer, Do you have anything less domestic?","description":"\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cp\u003eWINNER OF THE INAUGURAL 5 ISLANDS POETRY PRIZE FOR A FIRST BOOK OF POETRY 2022\u003cbr\u003e\u003cbr\u003e‘What sets the winning book apart is its depth of effects and the frequency of astonishing, breathtaking turns, insights, and denouements...Do You Have Anything Less Domestic? demonstrates that the best personal writing illuminates a more universal experience.’ 5 Islands Judges’ report\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-size: 15px;\"\u003e'\u003cem\u003eDo you have anything less domestic?\u003c\/em\u003e may be a debut, but Emilie Collyer is no debutante. She is an award-winning playwright of international renown. And although this is her first poetry collection, Collyer is a long established, much loved and highly regarded voice in the Melbourne poetry scene, and her poems have been widely anthologised. As Lisa Gorton observes in her endorsement, ‘this is the work of years’. Indeed, those years are keenly felt – in the honed poetic craft as well as the weight of grief accrued by a woman navigating midlife, a woman who unwittingly finds herself ‘the adult in this house’ (p.19) and wonders if life might have anything more alluring on offer.' Bronwyn Lovell in \u003ca href=\"https:\/\/textjournal.scholasticahq.com\/article\/40227-text-reviews-october-2022\" target=\"_blank\"\u003e\u003cem\u003eTEXT\u003c\/em\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eNavigating the world, inheriting the gender of woman, feeling more or less comfortable with that, trying to find the ways in which the word is inhabited and where it slips away; wondering where the domestic bleeds into the public; whose place is where and what are the rules? These questions form the basis of \u003cem data-mce-fragment=\"1\"\u003eDo you have anything less domestic?\u003c\/em\u003e The poems within whisper quietly behind closed doors at night; take trips out into daily life with a sharp eye and worried tongue; tease at generalities and assumptions about what a woman’s body of work is, what it does, how it looks, reads and feels. The collection is structured into five sections that each take one of these utterances as their heading (each said to or about the author at one time): \u003cem data-mce-fragment=\"1\"\u003eDo you have anything less domestic; Don’t write about your family, nobody cares; It's important to keep up weight bearing exercise; You have a nice smile, you should use it more; I hope I won’t put anyone off by saying this is genuinely feminist work.\u003c\/em\u003e The poems move from the intimate and domestic, through family and social themed works, and out to broader themed pieces that are overtly feminist in how they interrogate language, content and form.\u003c\/p\u003e\n\u003cp\u003e'Collyer explores the nexus between the public and the private in this witty and provocative collection of poetry that moves from the familial sphere to the world at large. It’s an acerbic, playful and feminist book.' Thuy On in \u003ca href=\"https:\/\/www.artshub.com.au\/news\/features\/10-underrated-books-in-2022-2594860\/\" target=\"_blank\"\u003eArts Hub\u003c\/a\u003e.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e'Individual, staunch, and always engaging, Emilie Collyer’s \u003cem data-mce-fragment=\"1\"\u003eDo you have anything less domestic?\u003c\/em\u003e is the work of years, and its publication will bring a strong new voice into Australian poetry.' Lisa Gorton\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003eEmilie Collyer lives in Naarm\/Melbourne’s west, on Wurundjeri land, where she writes poetry, plays and prose. Her work mines the intersection of the personal, the existential and the socio-political and she is interested in bringing different forms into conversation with each other. Her writing has most recently been published in anthologies including \u003cem data-mce-fragment=\"1\"\u003eHouse of Ideas: Modern Women\u003c\/em\u003e (Heide \u0026amp; Rabbit), \u003cem data-mce-fragment=\"1\"\u003eNot Very Quiet: The Anthology and Borderless: A Transnational Anthology of Feminist Poetry\u003c\/em\u003e (both with Recent Work Press) and in journals \u003cem data-mce-fragment=\"1\"\u003eBooth\u003c\/em\u003e (USA), \u003cem data-mce-fragment=\"1\"\u003eThe Blue Nib\u003c\/em\u003e (Ireland), \u003cem data-mce-fragment=\"1\"\u003eThe Ekphrastic Review\u003c\/em\u003e (USA), \u003cem data-mce-fragment=\"1\"\u003eRabbit, Axon, TEXT, Imagined Theatres, Australian Poetry Journal, Cordite, Overland \u003c\/em\u003eand \u003cem data-mce-fragment=\"1\"\u003eThe Lifted Brow\u003c\/em\u003e. She was the 2020 recipient of a Varuna Publishing Fellowship with Giramondo Publishing and recent accolades include shortlisting for Melbourne Poets Union International Poetry Competition 2019 \u0026amp; 2020 and runner-up Ada Cambridge Poetry Prize 2019. Recent plays are \u003cem data-mce-fragment=\"1\"\u003eContest, Dream Home\u003c\/em\u003e and \u003cem data-mce-fragment=\"1\"\u003eThe Good Girl \u003c\/em\u003ewhich has been produced in New York, Hollywood and Florida. Emilie’s plays have won and been nominated for multiple awards including the Theatre503 International Playwriting Award (London), Queensland Premier’s Drama Award, Green Room Awards, George Fairfax, Patrick White and Malcolm Robertson. Emilie also works as a dramaturg and text consultant. She has a Masters in Writing for Performance from VCA and is a current PhD candidate in creative writing at RMIT where she is researching contemporary feminist writing practice. She is a member of Australian Association of Writing Programs, Asia Pacific Writers and Translators, Theatre Network Australia, Writers Victoria and Varuna Writers’ Centre Alumni.\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cp\u003eEmilie Collyer, \u003cem\u003eDo you have anything less domestic?\u003c\/em\u003e \u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e2022. 148mm x 210mm. 112pp. \u003c\/span\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eISBN \u003c\/span\u003e978-1-925735-40-6\u003cbr\u003eRelease date: March 2022\u003c\/p\u003e\n\u003cp\u003eCover image © Daisy Noyes, 2020. \u003cem\u003eBurning Bush\u003c\/em\u003e.\u003cbr\u003ehttps:\/\/daisynoyes.com\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":41701616648349,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Collyer_frontcover.jpg?v=1640391261"},{"product_id":"wago-ryoichi-since-fukushima","title":"Wago Ryoichi, Since Fukushima","description":"\u003ch4 class=\"homepage-sections--title\"\u003eShortlisted for the 2024 Lucien Stryk Asian Translation Prize\u003c\/h4\u003e\n\u003cp\u003e\u003cspan class=\"c8\"\u003e'To read Wago Ryoichi's \u003c\/span\u003e\u003cem\u003e\u003cspan class=\"c3\"\u003eSince Fukushima\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"c8\"\u003e is to wake up in a hall of mirrors. Not the kind Bruce Lee enters in \u003c\/span\u003e\u003cspan class=\"c3\"\u003eEnter the Dragon\u003c\/span\u003e\u003cspan class=\"c8\"\u003e. In Halebsky \u0026amp; Takahashi’s astounding translation of Wago's world, the mirrors face the walls, while their opaque sides stare at you. And while in Bruce Lee's room you would be lost among your doppelgangers, in Wago's you will be alone. This is not to say he has wrought a language of nihilism. Quite the opposite. Wago's speaker, like a water diviner, locates hope in the aftermath of the nuclear disaster. There is no greater achievement than this.' \u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cspan class=\"c8\"\u003eEric Hyett, Archana Madhavan, and Shriram Sivaramakrishnan\u003cbr\u003e2024 Lucien Stryk Asian Translation Prize Judges' comments\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRadiation is falling. It’s a quiet night.\u003cbr\u003eMarch 16, 2011. 4:30 a.m.\u003c\/p\u003e\n\u003cp\u003eIn the days following the earthquake and tsunami that hit Japan in March 2011, poet Wago Ryoichi started a Twitter feed. Living just 80 km away from the failed nuclear reactor, he sheltered in his apartment and bore witness to the unfolding devastation. Beginning with excerpts from those original tweets, this book follows ten years of Wago’s writing. The poems consider not just the human toll of the disaster but place the devastation of the land, the animals, and ways of life of Fukushima Prefecture on equal footing. There are poems from the perspective of cows left behind in the evacuation zones, from the soil as it is dug up and buried deeper into the earth to lower radiation levels, and from residents who stayed behind. The book closes with a series of poems written ten years after 3.11. reflecting on the first days of the Fukushima Daiichi nuclear meltdown. Wago writes from a place of compassion for the world, sharing a hunger for beauty, rebirth and community from the heart of disaster.\u003cbr\u003e\u003cbr\u003e'The tsunami came, my students’ families died. That’s the first fact. Fukushima Daiichi Power Station was in meltdown, our town was lost and all the people living there were evacuating. That’s the second fact.' Wago Ryoichi in conversation with Brenda Hillman\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eWago Ryoichi\u003c\/strong\u003e is a poet and high school Japanese literature teacher from Fukushima city, Japan. In 2017, the French translation of his book, \u003cem\u003ePebbles of Poetry, \u003c\/em\u003ewon the Nunc Magazine award for best foreign-language poetry collection. Wago has published many solo author volumes of poetry. Since March 2011, his writing has focused on the ecological devastation of the areas affected by the Tohoku earthquake, tsunami and the nuclear meltdown of the Fukushima Daiichi power station. His poem \u003cem\u003eAbandoned Fukushima\u003c\/em\u003e is sung by choirs across Japan as a prayer for hope and renewal.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eAyako Takahashi and Judy Halebsky work collaboratively to translate poetry between English and Japanese. \u003cstrong\u003eAyako Takahashi\u003c\/strong\u003e is a scholar and translator teaching at University of Hyogo in Japan. Her most recent publication is a book of scholarship titled, \u003cem\u003eReading Gary Snyder\u003c\/em\u003e (Shichosha Press, 2018). She has published translations of many American poets such as Jane Hirshfield, Anne Waldman, and Joanne Kyger, among others (\u003cem\u003eAnthology of Contemporary American Women Poets\u003c\/em\u003e, Shichosha Press 2012). \u003cstrong\u003eJudy Halebsky\u003c\/strong\u003e is a poet and translator. She is the author of \u003cem\u003eSpring and a Thousand Years (Unabridged) \u003c\/em\u003e(University of Arkansas Press, 2020), \u003cem\u003eTree Line\u003c\/em\u003e (New Issues 2014) and \u003cem\u003eSky=Empty\u003c\/em\u003e, winner of the New Issue Prize (New Issues, 2010). She has also published articles on cultural translation and noh theatre. She is a professor of Literature and Language and director of the MFA in Creative Writing program at Dominican University of California. Ayako and Judy have been working together for a number of years and have previously published articles in Japan on the development of English language haiku.\u003c\/p\u003e\n\u003cp\u003eWago Ryoichi, \u003cem data-mce-fragment=\"1\"\u003eSince Fukushima\u003c\/em\u003e\u003cbr\u003eTranslated by Ayako Takahashi and Judy Halebsky\u003cbr\u003e2023. 148mm x 210mm. 96pp. \u003cbr data-mce-fragment=\"1\"\u003eISBN 978-1-925735-45-1\u003cbr data-mce-fragment=\"1\"\u003eRelease: February 2023\u003cbr\u003e\u003c\/p\u003e\n\u003ch4\u003ePublication of Wago Ryoichi’s \u003cem\u003eSince Fukushima\u003c\/em\u003e was generously funded by a publishing subvention from the Japanese Society for the Promotion of Science (JSPS) in association with the University of Hyogo, Japan.\u003c\/h4\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":42830455177373,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Wagocover.png?v=1670208220"},{"product_id":"caroline-williamson-time-machines","title":"Caroline Williamson, Time Machines","description":"\u003cp\u003e\u003cstrong\u003eHighly Commended in the 2023 5Islands Poetry Prize for a First Book of Poetry\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eTime Machines\u003c\/em\u003e is the debut collection of poetry from Australian poet Caroline Williamson. At once acerbic and generously hearted, Williamson's poems carefully shape and form the everyday and personal into a meditation on the economic and political systems and the personalities that govern us. Through finely wrought narrative poems, Williamson vividly renders contemporary Melbourne in all its life as these same systems buckle and strain under the pandemic, the evolving climate catastrophe, and the hubris and incompetence of our political leaders. Williamson's poetry deftly and unapologetically, with insight and heart, explores while the personal is political, the political is also personal, holding the forces and individuals that govern us to account. This long-awaited debut collection brings a vital new voice to contemporary Australian poetry.\u003c\/p\u003e\n\u003cp\u003e'From long memory and forensic daily observation Caroline Williamson makes new poetry of the long poem – with intelligence and impressive fluency she forms marvellous contrapuntal narratives. Whether she is recalling her coal-mining grandfather, or deriding our politicians for incompetence (or worse), even when struggling with economic theory (like most of us) the personal and the political are freed from the cliches of poetry and strike instead with a bracing immediacy. She is a natural ironist. Her writing is elegant but understated, deeply felt but utterly devoid of melodrama even when she is worrying away at climate change and Covid and the everyday contingencies of contemporary life beyond the headlines. She is determined to see things clearly, and she does.' Philip Salom\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eCaroline Williamson\u003c\/strong\u003e is a poet and editor. She was born in London, and worked there and in Beijing as a teacher, before turning her hand to editing: academic books, museum publications, and a campaigning anti-nuclear magazine. She moved to Melbourne with her Australian partner, where she has worked at Lonely Planet, Museum Victoria and Melbourne University Publishing. Her poems have been published in journals including \u003cem data-mce-fragment=\"1\"\u003eOverland\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eMeanjin\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eHeat\u003c\/em\u003e, \u003cem data-mce-fragment=\"1\"\u003eRabbit\u003c\/em\u003e and \u003cem data-mce-fragment=\"1\"\u003eCordite\u003c\/em\u003e, in a number of Newcastle Prize anthologies, and in \u003cem data-mce-fragment=\"1\"\u003eContemporary Australian Feminist Poetry\u003c\/em\u003e (ed. Bonnie Cassidy and Jessica Wilkinson). Her essay  'Working Methods: Painting, Poetry and the difficulty of Barbara Guest', based on her masters minor thesis, was published in \u003cem data-mce-fragment=\"1\"\u003eJacket \u003c\/em\u003emagazine #36. Her PhD in creative writing (Monash 2016) examined some of the ways that poets have attempted to deal with climate change in their work, and included a verse narrative dealing with the lives of her coal-mining ancestors in Wales, in the context of what we now know about the damage done by burning fossil fuels. She won the 2014 A.D. Hope prize for the best postgraduate essay presented at the conference of the Association for the Study of Australian Literature, for 'Beyond Generation Green: Jill Jones and the Ecopoetic Process'.\u003c\/p\u003e\n\u003cp\u003eCaroline Williamson, \u003cem\u003eTime Machines\u003c\/em\u003e\u003cbr\u003e2023. 148mm x 210mm. 112pp. \u003cbr data-mce-fragment=\"1\"\u003eISBN 978-1-925735-50-5\u003cbr data-mce-fragment=\"1\"\u003eRelease: February 2023\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eAuthor photo © \u003cspan style=\"caret-color: #000000; color: #000000; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; display: inline !important; float: none;\" data-mce-fragment=\"1\" data-mce-style=\"caret-color: #000000; color: #000000; font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; display: inline !important; float: none;\"\u003eDi Cousens\u003c\/span\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":42830498824349,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Williamsoncover.png?v=1670208597"},{"product_id":"tais-rose-wae-riverbed-sky-songs","title":"Tais Rose Wae, Riverbed Sky Songs","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eWINNER OF THE 2024 KENNETH SLESSOR AWARD FOR POETRY\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSHORTLISTED FOR THE 2024 MARY GILMORE AWARD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'With its beautiful pacing and intimate lyrical voice, Tais Rose Wae’s \u003cem\u003eRiverbed Sky Songs\u003c\/em\u003e draws us into its world of making and remaking, its sensuously crafted lines and graceful cadences braiding thought, emotion and image into poems that radiate wonder and beauty. Reading these poems, it feels like we are participating in their unfolding, in physical acts of weaving and shaping ideas and feelings into something real, something ‘to be held \/ with care, with custodianship’. It is a truly marvellous first book, its freshness of voice and vision promising restoration and renewal in its enchanting music and quiet, pristine beauty.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRiverbed Sky Songs\u003c\/em\u003e opens with ‘Epilogue to Ceremony’, its first lines ‘We found an early dream of you \/ in the rockpool fringed with grass’ discovering a space for an exquisite conversation between unborn child and mother. From here a journey expands with the arrival of the child through vision to womb to encompass a poetic encounter with place and self over the first seasons of the child’s life. This intimate, delicate tracery of water and land, self, connection and solitude invites the reader to witness the intricate networks it maps. This is an intuitive, meticulously braided and integrated work of quiet, dauntless power, shaped by a quality of reverent attentiveness ...\u003c\/p\u003e\n\u003cp\u003eThis is a work about disconnection and loss resulting from displacement. Its formal porousness suggests the silences and losses the poet navigates, while seeking repair for the sake of the next generation, beginning with her son. It is an extraordinary book that unfolds for the reader as an immersive journey and generous vision. Moving through many forms, these are poems of unabashed grace and openness, reckoning, wisdom, and resilience.'\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cstrong\u003eWinner of the 2024 NSW Premier's Literary Awards\u003cbr\u003eKenneth Slessor Award for Poetry \u003ca href=\"https:\/\/www.sl.nsw.gov.au\/awards\/kenneth-slessor-prize-poetry\/2024-winner-riverbed-sky-songs\"\u003eJudges' comments\u003c\/a\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'A shimmering universe of a book: quietly powerful, thoughtful, vivid, finely crafted poems of witness and deep connection to Country both lost and found. Wae's voice is distinctive, generous, and engaged with landscape, memory, resistance, creation, and wonder. 'I return to the bracken fern balm of poetry' ...I come to the arms of banksia branch \/with river song with clapstick\/ with currawong' ('Veils'); '...we are the rock \/over which the moss\/ has grown\/ and the art made \/and the star seed thrown' ( ‘Arrive Again’) '…and if you listen closely,\/ you can hear the gold\/ in the riverbed.' (‘From a Place, Unknown’).'\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cstrong\u003eMary Gilmore Award judges comments\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eRiverbed Sky Songs \u003c\/em\u003eis an admiration and imagining of the inherent links between ecosystems and the human experience. The poetry collection challenges colonial form and storytelling and is tenderly woven across the page to mirror Wae’s connection to Country; found in moments of enamour amidst soft pockets of moss at the edge of a riverbed, in the reminder of strength and of spirit as reflected in the surface of a pearl, to the ancestral songs and knowing that are passed on through blood. It is an ode to the legacy of labour, power, courage and love of writers before us, and an offering of an ember to our children who will keep the fires of care and culture burning. \u003cem\u003eRiverbed Sky Songs \u003c\/em\u003eis a transformative process of discovery that enacts as a reminder to return, to walk gently, and to listen with as great a depth as the seabed alongside which many of these poems were remembered and recalled.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTais Rose Wae\u003c\/strong\u003e is an artist and poet whose work explores the interconnection and imprint of maps of lineage, motherhood, and her Aboriginal ancestry. Her poetry is strongly imbued with a curiosity for and connection to the natural world. It has most recently been reimagined at the Biennale of Sydney and recognised amongst the Oodgeroo Noonuccal Indigenous Poetry Prize and Judith Wright Poetry Prize shortlists and the Peter Porter longlist, as well as being selected as runner-up for the Nakata Brophy Prize for Young Indigenous Writers. Wae's work can be found in publications including the \u003cem\u003eAustralian Poetry Anthology, Best of Australian Poetry, Cordite, Overland Literary Journal, Running Dog, West Space Offsite,\u003c\/em\u003e and \u003cem\u003eWesterly\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eTais Rose Wae, \u003cem\u003eRiverbed Sky Songs\u003c\/em\u003e\u003cbr\u003eAugust 2023. 148mm x 210mm. 112pp. \u003cbr\u003eISBN 978-1-925735-58-1\u003cbr\u003eForthcoming 2023\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003eThis project is supported by the NSW Government through Create NSW.\u003c\/p\u003e\n\u003cdiv style=\"text-align: start;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/NSWGov_Logo_RGB_Primary_FullColour_240x240.png?v=1688344105\" style=\"margin-bottom: 16px; float: none; display: block; margin-left: auto; margin-right: auto;\"\u003e\u003c\/div\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":42830527365277,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Wae_Covers.jpg?v=1687819285"},{"product_id":"claire-miranda-roberts-kangaroo-paw","title":"Claire Miranda Roberts, Kangaroo Paw","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eShortlisted for the 2024 Victorian Premier's Awards (Poetry)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e'Kangaroo Paw \u003c\/em\u003eis tightly focused on observing indigenous and introduced flora; it is a collection reminiscent of a series of miniaturist artworks. The writing is characterised by controlled intensity and formal play – renewing a sense of how words work to sort and label – while its visual patterning typifies mathematical precision. The poems in its opening sequence adopt an unusual formal approach: they create gaps within poems which characterise and embody the growth patterns of open bushland. In contrast, other poems mirror non-indigenous flora through the use of more enclosed traditional forms. We were struck by the collection’s insistence on poetic form (inflected by Roberts’ training as a visual artist), in this era of often looser poetics. This is a subtle and enigmatic work that invites re-reading.' \u003cstrong\u003e2024 VPLA Judges' report\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eKangaroo Paw\u003c\/em\u003e journeys through two poetic landscapes: the informal and the formal. The latter leans into traditional verse through the sonnet, cento, procedural works and half-rhyme. This is a stylised garden, complete with introduced plant species, yet troubled by the lyrebird and rainbows that fall to the earth. In contrast, the opening sequence travels through open bushland via a series of fragments, stopping at the smallest wildflower, taking form from the split in a branch and the gaps in the canopy. Here, poetry is localised and tied to the author's lived experience, wherein personal revelations ‘fall like looped jade’. In \u003cem data-mce-fragment=\"1\"\u003eKangaroo Paw\u003c\/em\u003e, fragments shift into lyrics and lyrics into prose. Throughout, Roberts' is attentive to nature, phenomena, beauty, and the Whitmanian 'life below'.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e‘In love with restraint and paradoxes of scale (‘the largest eucalypts have the smallest flowers’), these minimalist, phenomenological lyrics in the spirit of Dickinson and Niedecker revere their interstices, enigmas and openings; the poem between ‘iris and the iris-image’, ‘a pact with the aerial\/ferns that bud’. Using the page\/book as sensorium and laboratory to conjure ‘life\/below life’, ‘thinking about living’, Roberts explores the poetic interface and in-florescence of subjectivity, language and nature.’ Helen Anne Bell Poetry Award Bequest 2022 judges’ commendation\u003c\/p\u003e\n\u003cstrong\u003e\u003c\/strong\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cb style=\"font-style: normal; font-variant-caps: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; font-weight: bold; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8;\" data-mce-fragment=\"1\" data-mce-style=\"font-style: normal; font-variant-caps: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; font-weight: bold; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8;\"\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003eClaire Miranda Roberts\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8; float: none; display: inline !important;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8; float: none; display: inline !important;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003ewas born in Melbourne and has lived in the UK, where she completed an MFA in Creative Writing at the University of St Andrews. Claire's poetry has been published in many highly regarded literary journals, including\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003ci style=\"font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; font-style: italic; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8;\" data-mce-style=\"font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; font-style: italic; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8;\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003eAntipodes, Communion (Walleah Press), Plumwood Mountain, Text: Journal of Writing and Writing Courses,\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8; float: none; display: inline !important;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8; float: none; display: inline !important;\"\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003eand\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003ci style=\"font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; font-style: italic; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8;\" data-mce-style=\"font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; box-sizing: border-box; font-style: italic; color: #333333; font-family: 'Neuzeit Office', sans-serif; font-size: 14px; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8;\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003eWesterly Magazine\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8; float: none; display: inline !important;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none; color: #333333; font-variant-ligatures: normal; orphans: 2; widows: 2; background-color: #f8f8f8; float: none; display: inline !important;\"\u003e\u003cspan class=\"colour\" style=\"color: #000000;\" data-mce-fragment=\"1\" data-mce-style=\"color: #000000;\"\u003e\u003cspan class=\"size\" style=\"font-size: 16px;\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 16px;\"\u003e\u003cspan class=\"font\" style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: 'helvetica neue', helvetica, sans-serif, sans-serif;\"\u003e, among others. She has also been shortlisted and commended in a number of international poetry competitions, including the Oxford Brookes International Poetry Prize 2020 and the Stephen Spender Prize 2021. Most recently, her manuscript was shortlisted for the 2021 Helen Anne Bell Poetry Bequest Award – Australia's richest poetry prize for women. Claire's poetry has been described as 'haiku-like, observational of nature, each image seemingly occurring as the eye falls on it ... a mastery of not only poetic language but also poetic placement' (Terry Jaensch, 2020). Claire also has a strong interest in Australian history and genealogy, which she explores on her blog \u003ca href=\"%20theother-beauty.blogspot.com\"\u003eThe Other Beauty\u003c\/a\u003e. \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eClaire Miranda Roberts, \u003cem\u003eKangaroo Paw\u003c\/em\u003e\u003cbr\u003e2023. 127mm x 178mm. 80pp. \u003cbr data-mce-fragment=\"1\"\u003eISBN 978-1-925735-53-6\u003cbr data-mce-fragment=\"1\"\u003eRelease: February 2023\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_small_rgb-54322b14eed17_480x480.png?v=1600310698\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":42830532706461,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Roberts_cover.png?v=1670208109"},{"product_id":"holly-isemonger-greatest-hit","title":"Holly Isemonger, Greatest Hit","description":"\u003cp\u003e\u003cstrong\u003eCommended in the 2023 5Islands Poetry Prize for a First Book of Poetry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIn her long-awaited debut collection, Holly Isemonger, engages, pulls apart, and ingeniously reassembles our language to surprising, ingenious ends. Despite the formal innovation there is nothing cold or dry about this collection: it is funny and sad, biting and wrenching, immediate and tender. These poems are excursions which incorporate both the communal and the deeply personal. If they are ‘experimental’, then they are experiments from the heart. Isemonger’s work is irreverent, never boring, always buffered by exquisite sensibility, style and form. \u003cem\u003eGreatest Hit\u003c\/em\u003e is a stunning and highly anticipated debut by the winner of the Judith Wright Poetry Prize.\u003cbr\u003e\u003cbr\u003e'The poems in \u003cem\u003eGreatest Hit\u003c\/em\u003e spool off the page like feisty, filmic reels, assembling myriad recombinant epiphanies. Holly Isemonger’s poetic is irreverent, inventive and ingenious, yet offset by the necessity of resilience (weighted by blankets and Tom Waits). These are poems of the South Coast surf, a regional psychogeography disrupting (often antipodean) cliches of teen cinema, soap operas and reality TV, using visceral and visual defamiliarization. The fractured female gaze produces a kaleidoscope of aesthetic and affect, mixing the erotic with the melancholic. Isemonger is a poet-philosopher-cum-cinematographer, worthy of cult status, a feminist auteur of the Australian nouvelle vague.' Keri Glastonbury\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e'Many of us have been waiting some time – too long – for Holly Isemonger’s debut collection of poetry. It was worth it. \u003cem\u003eGreatest Hit\u003c\/em\u003e takes the lessons of the modernists and puts real human flesh on those often cold bones. Behind the often ingenious formal experimentation is a sense of play and exploration which uncovers matters alternately grave and comic, sometimes at once. As good as these poems are, there is more at stake in Isemonger’s work than a teasing out of the possibilities of language; these are poems about sense and nonsense, of falling apart and holding it together, of giving up and living on – in short, about what it means, or might mean, to be a human being. What more could one ask for?' Chris Fleming\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e Holly Isemonger is a poet, critic and editor from Gerringong, NSW. She was the joint winner of the Judith Wright Poetry Prize. Her work has appeared in journals such as \u003cem data-mce-fragment=\"1\"\u003eCordite, Overland\u003c\/em\u003e and \u003cem data-mce-fragment=\"1\"\u003eWesterly\u003c\/em\u003e and she is the author of the chapbooks \u003cem data-mce-fragment=\"1\"\u003eHip Shifts\u003c\/em\u003e (If A Leaf Falls Press) and \u003cem data-mce-fragment=\"1\"\u003eDeluxe Paperweight\u003c\/em\u003e (Stale Objects dePress). She can be found at @Hisemonger on Twitter.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Holly Isemonger, \u003cem data-mce-fragment=\"1\"\u003eGreatest Hit\u003c\/em\u003e\u003cbr\u003e2023. 148mm x 210mm. 80pp. \u003cbr data-mce-fragment=\"1\"\u003eISBN 978-1-925735-55-0\u003cbr data-mce-fragment=\"1\"\u003eRelease: February 2023\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/aca_logo_horizontal_small_rgb-54322b14eed17_480x480.png?v=1600310698\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":42830566359197,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Isemongercover.png?v=1670207870"},{"product_id":"marian-macken-our-concealed-ballast","title":"Marian Macken, Our Concealed Ballast","description":"\u003cp\u003e'Situated in ‘a strange liminal time between a death and a birth’,\u003cem\u003e Our Concealed Ballast \u003c\/em\u003eis a bracingly hybrid work that combines elements of memoir, personal essay and art criticism. Built from a series of discontinuous passages, Marian Macken’s book reinvigorates what it means to ‘hold space’ for others — as a parent and an architect — in the wake of bereavement. Yet it is also a work concerned with time, chronicling the ways that grief and anticipation texture the present’s ongoingness.\u003c\/p\u003e\n\u003cp\u003eIt is a significant achievement to introduce, as this book does, a new spatio-temporal vocabulary for understanding and processing the experience of loss. This includes its formal fragmentation: each of its passages provides a temporary habitation, while the cuts between them activate a sense of dislocation and unmooring — as well as the possibility of another chronology. With poise and imagination, Macken has probed an almost unbearable gulf between moving and moving on.'\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cstrong\u003eShortlisted for the 2024 NSW Premier's Literary Awards\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDouglas Stewart Award for Non-Fiction Judges' comments\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e‘The opening of this book slaps the reader in the face with an impossible loss, a giant yet stealthy explosion. The shrapnel of grief caused by this event scatters throughout the rest of the book’s pages. Macken is interested in motherhood, in people, places, and spaces. How we shape the world around us and are shaped by it.’ \u003cbr\u003eELIZABETH ALLEN in \u003cem\u003eThe Village Observer\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003c\/em\u003e\u003ci style=\"caret-color: #000000; color: #000000; font-family: Calibri, sans-serif; font-size: 14.666667px; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none;\" data-mce-fragment=\"1\" data-mce-style=\"caret-color: #000000; color: #000000; font-family: Calibri, sans-serif; font-size: 14.666667px; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none;\"\u003e\u003cspan style=\"color: black;\" data-mce-fragment=\"1\" data-mce-style=\"color: black;\"\u003eOur Concealed Ballast \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Calibri, sans-serif; font-size: 14.666667px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none; color: black;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: Calibri, sans-serif; font-size: 14.666667px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none; color: black;\"\u003eweaves together reflections on motherhood, grief, attachment, and the moments that mark our movements through the world. It is a study of loss, its dimensions and atmosphere, and how these change over decades. A house on the river with a frangipani; an archive of drawings; a photograph taken by a father; a post office in West Harlem – the book pins together intimate moments and places which resonate to become a way of relating to the world. Renewing the memoir form within a spatial logic, passages communicating elusive ideas are precisely placed; these gather to deliver an emotionally taut reading across each spread of facing pages. Macken’s voice is direct and sparse, visceral and passionate, as she digs into the meaning and structure of the personal archive that we carry through life – the ballast of emotion and solace which keeps us steady. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e‘A profound exploration of subjectivity and space, relatedness and grief. Macken’s prose is a controlled—and clarifying—burn.’\u003cbr\u003eSARAH KRASNOSTEIN\u003c\/p\u003e\n\u003cp\u003e‘A brave reckoning with unimaginable loss interspersed with vignettes of art, architecture, books and the unpacking of memory. Its intricate construction of place, time and grief is profoundly moving.’\u003cbr\u003eCHRIS BARTON\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003eMarian Macken\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is a writer, researcher, educator and artist \u003c\/span\u003e\u003cspan\u003etrained in architecture, landscape architecture and visual art\u003c\/span\u003e\u003cspan\u003e. Born in Sydney, Australia, \u003c\/span\u003e\u003cspan\u003eMacken is Associate Professor at Te Pare School of Architecture and Planning, \u003c\/span\u003e\u003cspan\u003eWaipapa Taumata Rau \u003c\/span\u003e\u003cspan\u003eUniversity of Auckland, New Zealand.  Her creative practice research and writing\u003c\/span\u003e\u003cspan\u003e primarily focus on architectural drawing. Her work has been acquired by various international public collections of artists’ books and she has undertaken funded artist residencies and exhibited internationally. Her book \u003cem\u003eBinding Space: The Book as Spatial Practice\u003c\/em\u003e was published as part of the Routledge Design Research in Architecture series in 2018. Her next book,\u003cem\u003e Bodies and Space in Architectural Drawing: Line, Movement and Scale\u003c\/em\u003e, co-authored with Carl Douglas, will be published as part of Bloomsbury’s Drawing In series.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMarian Macken, Our Concealed Ballast\u003cbr\u003eAugust 2023. 148mm x 210mm. 112pp. \u003cbr data-mce-fragment=\"1\"\u003eISBN 978-1-925735-51-2\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis project has been assisted by Waipapa Taumata Rau The University of Auckland.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: start;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/UoALogoWhite4ColLandscape_240x240.png?v=1687231617\" style=\"margin-bottom: 16px; float: none;\"\u003e\u003c\/div\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":42833115480221,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Macken_cover.jpg?v=1687819378"},{"product_id":"ella-skilbeck-porter-these-are-different-waters","title":"Ella Skilbeck-Porter, These Are Different Waters","description":"\u003cp\u003e\u003cstrong\u003eHighly Commended in the ANNE ELDER AWARD 2023\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShortlisted for the 2024 MARY GILMORE AWARD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'Formally daring, Skilbeck-Porter’s debut is a confident collection that moves elegantly and effortlessly through concrete and lyric poetry. Skilbeck-Porter has developed a poetics that feels truly new and invigorating, characterised by both an eye for intricacy and a steady, guiding formal hand. \u003cem\u003eThese Are Different Waters\u003c\/em\u003e is a significant accomplishment in form, but more importantly, style.'\u003c\/p\u003e\n\u003cp\u003eAnne Elder Award 2023 judges' comments\u003c\/p\u003e\n\u003cp\u003e'It is rare for a first book of poetry to be experimental and also restrained, yet Ella Skilbeck-Porter successfully achieves both in \u003cem\u003eThese are Different Waters\u003c\/em\u003e. This is an exquisitely crafted volume, where ‘the science and the jut of parataxis’ allows poetry to observe, weigh and value an array of moments and forces. Skilbeck-Porter juxtaposes various kinds of immersion with the evident constraints of poetic forms. Her work takes us around and beyond the borders of pantoums, list-poems, Oulipian restrictions, typographical layering and concrete poetry. \u003cem\u003eThese are Different Waters \u003c\/em\u003eis attentive to the intersections between randomness and familiarity; it is poetry of delicate patina that alerts us to the patterning of language and the world.'\u003c\/p\u003e\n\u003cp\u003eMary Gilmore Award judges comments\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThese Are Different Waters\u003c\/em\u003e is the debut collection from poet Ella Skilbeck-Porter. \u003cbr\u003e\u003cbr\u003eDeftly working across both verse and visual poetry, Skilbeck-Porter gathers aesthetic experience and layers thought and memory, structuring the collection through the central motif of the municipal swimming pool, where fragments of thought and observation swim and float to the surface. Observational, attentive, and at times surreal, Skilbeck-Porter’s work immerses the reader in a sensory experience that delights the eye and the mind. These Are Different Waters is the first iteration of what Skilbeck-Porter terms a ‘poetics of no division,’ where everything is permitted and boundaries are traversed, emphasising interrelatedness and fluidity without hierarchy. It is a sublime and accomplished debut from a poet who has been working in concrete and verse poetry for over a decade.\u003cbr\u003e\u003cbr\u003eConceptual, droll and formally experimental, \u003cem\u003eThese Are Different Waters\u003c\/em\u003e disposes its wide-ranging materials into an elegant two-part structure: ‘Inflatable pool’, and the substantial visual sequence, ‘Concrete Pool’. Skilbeck-Porter dares to devise her own weird syntax of hallucinatory profusion, a through-composed ‘ink spell’ of restless, post-Steinian parataxis. Decisive and yet dreamy, its poetic bricolage, ‘a stratosphere of shifting surfaces’, resists closure and passes the baton: ‘The end of my swim, the beginning of yours’. Helen Anne Bell Poetry Bequest Award Judges \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eElla Skilbeck-Porter is a poet and artist currently living on unceded Wurundjeri Country in Naarm\/Melbourne. She holds a double degree in Communications and International Studies with First Class Honours in Writing Studies from the University of Technology, Sydney and is a PhD candidate in French Studies at the University of Melbourne, where she is researching visual poetry. Her poetry has been widely published in literary journals including \u003cem\u003eRabbit, Cordite Poetry Review, HEAT, Australian Poetry Journal, Going Down Swinging\u003c\/em\u003e and \u003cem\u003eOtoliths\u003c\/em\u003e. \u003cem\u003eThese Are Different Waters\u003c\/em\u003e is her first book-length collection of poetry.\u003c\/p\u003e\n\u003cp\u003eElla Skilbeck-Porter, \u003cem\u003eThese Are Different Waters\u003c\/em\u003e\u003cbr\u003eAugust 2023. 148mm x 210mm. 80pp. \u003cbr\u003eISBN 978-1-925735-60-4\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":43785936109725,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Screenshot2023-06-20at10.08.46am.png?v=1687232028"},{"product_id":"peter-boyle-companions-ancestors-inscriptions","title":"Peter Boyle, Companions, Ancestors, Inscriptions","description":"\u003cp\u003e\u003cstrong\u003eShortlisted for the 2025 Prime Minister's Literary Award for Poetry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'A dazzling work of the imagination by a mature poet working at the height of his powers, Peter Boyle’s \u003cem\u003eCompanions, Ancestors, Inscriptions\u003c\/em\u003e is a book that ‘light[s] the darkness at both ends’. Its central sequence of narrative prose poems transports us to a wondrous archipelago of ancestral spirits who ‘sleep outside the folds of their own skin’, grow transparent at different times of day and ‘hold their bodies together’ only by ‘an enormous act of will’. Conveyed upon a ‘river \/ that carries night under the earth’, our journey is however no mere escapist fantasy to a dreamlike otherworld but brilliantly illuminates the mysteries of this one.  \u003c\/p\u003e\n\u003cp\u003eImbued with hard-won wisdom and displaying exceptional creativity, Boyle’s poems are as alive to ‘the thought-fibres of language’ as to the condition of silence and ineffability. A testament to poetry’s unique capacity for ‘thread[ing] the line of human story’ as ‘it fractures into wild deviations’, this collection re-imagines selfhood as mutable and relational rather than fixed and singular—as always already incorporating one’s forebears and companions, human and nonhuman. An elegant book of poetic transformations, it is also one in which ‘very slowly you transform into yourself’. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2025 PM's Literary Awards Judges' comments\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLuminous and profound, \u003cem\u003eCompanions, Ancestors, Inscriptions\u003c\/em\u003e is the eleventh collection of poetry from one of Australia’s most respected and celebrated contemporary poets and translators. Over five sections, Boyle offers a wide-ranging exploration of what it means to be human, moving from the personal to the social and political, from the immediacy of the writer’s home to a traveller on a train to Shanghai or a French pianist performing Ravel, as seen on YouTube. This mingling of inner and outer realms continues in dream narratives that sit alongside political poems, such as ‘Our World’, and final haiku-like poems that return us to the vision of our small place in a world filled with other-than-human presences. This is a work of deep imagination and subtle humour, a generous sharing in the sometimes magical, sometimes uncertain and unsettling experience of being human. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e'Companions, Ancestors, Inscriptions\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e, a new and substantial manuscript from celebrated poet Peter Boyle, shows once again his remarkable facility with language and imagery. This collection in five parts entrances the reader through a poetics of imagination expressed in stories and images that speak wisely. Steeped in a quality of openness to the numinous, not only does the collection as a whole generate its own mythic, symbolic world, but it also builds on Boyle’s vast knowledge of poetic and sacred texts. Through dreamscapes and attention to the corporeal, the poems engage deftly and hauntingly with eros and thanatos. A deepening wisdom and engagement with the world as more than human characterize this collection. No one writes quite like Peter Boyle.'  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnne Elvey\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeter Boyle\u003c\/strong\u003e is a poet and translator of poetry living and working on Dharug land. He has ten books of poetry published and eight books as a translator of poetry from Spanish and French. His most recent collections are \u003cem\u003eIdeas of Travel\u003c\/em\u003e and \u003cem\u003eNotes Towards the Dreambook of Endings\u003c\/em\u003e (2022 and 2021). In 2020 his book \u003cem\u003eEnfolded in the Wings of a Great Darkness\u003c\/em\u003e won the New South Wales Premier's Award for Poetry. His book \u003cem\u003eGhostspeaking\u003c\/em\u003e also received the New South Wales Premier's Award in 2017. Other prize-winning books include \u003cem\u003eApocrypha\u003c\/em\u003e (2009), \u003cem\u003eThe Blue Cloud of Crying\u003c\/em\u003e (1997) and \u003cem\u003eComing Home from the World\u003c\/em\u003e (1993). He has performed his poetry at International Poetry Festivals in Colombia, France, Venezuela, Macedonia, Canada, Nicaragua, El Salvador and Spain. His poems have been translated into Spanish, French, German, Chinese, Macedonian, Vietnamese, Korean and Russian. As a translator his books include Anima by Cuban poet José Kozer, \u003cem\u003eThe Trees: Selected Poems of Eugenio Montejo\u003c\/em\u003e and \u003cem\u003eThree Poets: Olga Orozco, Marosa Di Giorgio and Jorge Palma\u003c\/em\u003e. In 2013 he was awarded the New South Wales Premier's Award for Literary Translation. He holds a Doctorate in Creative Arts from the University of Western Sydney.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePeter Boyle, \u003cem\u003eCompanions, Ancestors, Inscriptions\u003c\/em\u003e\u003cbr\u003e2024. 148mm x 210mm. 128pp.\u003cbr\u003eISBN 978-1-925735-64-2\u003c\/p\u003e\n\u003cp\u003eThis project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/CreativeAustraliaLogo_HorizontalBlack_Medium_306d6307-95f0-44ae-b87e-e933241d9921_480x480.png?v=1701428706\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":44163389948061,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Boyle_Inscriptions.png?v=1701428444"},{"product_id":"lk-holt-three-books","title":"LK Holt, Three Books","description":"\u003cp\u003e\u003cstrong\u003eWinner of the Judith Wright Calanthe Award for Poetry 2024\u003c\/strong\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e'Three Books\u003c\/em\u003e comprises \"Merry War (of never meeting and never ending)\", a suite of streetwise translations of 14th-century Persian poet Jahan Malek Khatun with Catullus; \"Nina in the Hag Mask\"; and \"April\", a singularly ambitious long prose poem. These are the work of a poet at the peak of her considerable technical abilities and imaginative range. If sentience is, as April, the heroine of the eponymously named poem, wonders, then perhaps we can see \u003cem\u003eThree Books\u003c\/em\u003e as the poet’s attempt to reckon with “the baffling result of simple action”. Holt transforms language into invocation, holding it by its stem.' Judges for the Judith Wright Calanthe Award for Poetry 2024\u003c\/p\u003e\n\u003cp\u003eTechnically expert and purposefully experimental, \u003cem\u003eThree Books\u003c\/em\u003e continues Holt’s long interrogation of the lyric form, and of the language, the roles, and the conventions we find and lose ourselves in. This substantial and significant new collection is formed from three volumes of poetry that stand independent, yet also reverberate as one. The first volume, ‘Merry War (of never meeting and never ending)’ comprises Holt’s loose versions of the love poems of Jahan Malek Khatun (a female contemporary of Hafez) and the Roman poet Catullus. Their poems alternate, in parallel, upon the same atemporal plane of expression and desire—they never meet, but beside each other they become the receiver for the other’s invocations. The second volume, ‘Nina in the Hag Mask’, consists of poems and suites within a tonal loop—modern structures for housing the primitive Uncanny, the fears and anxieties that are our birthright. The final volume, ‘April’, is a long prose poem, sounding out the ways in which a self possesses time and language, and vice versa. Long-term readers of LK Holt will see in \u003cem\u003eThree Books\u003c\/em\u003e the further evolution of one of Australia’s most formidable and ambitious poets.\u003c\/p\u003e\n\u003cp\u003eLK Holt has published six full-length collections of poems. Her book \u003cem\u003eBirth Plan\u003c\/em\u003e was shortlisted for the 2020 Prime Minister’s Award for Poetry and the 2020 Victorian Premier’s Award for Poetry. She is the recipient of the NSW Premier’s Award for Poetry and the Grace Leven Prize for an Australian poetry collection, and has been longlisted for the Australian Literature Society’s Gold Medal. Her poems have been published widely in journals and anthologies in Australia, UK and USA. She lives in Narrm\/Melbourne.\u003c\/p\u003e\n\u003cp\u003eLK Holt, \u003cem\u003eThree Books\u003c\/em\u003e\u003cbr\u003e2024. 148mm x 210mm. 144pp.\u003cbr\u003eISBN 978-1-925735-65-9\u003c\/p\u003e\n\u003cp\u003eThis project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/CreativeAustraliaLogo_HorizontalBlack_Medium_306d6307-95f0-44ae-b87e-e933241d9921_480x480.png?v=1701428706\" alt=\"\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":44163392897181,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Holt3Books.jpg?v=1702508003"},{"product_id":"izzy-roberts-orr-raw-salt","title":"Izzy Roberts-Orr, Raw Salt","description":"\u003cp\u003e\u003cstrong\u003eWINNER 2024 Anne Elder Award for a first collection of poetry\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'\u003cem\u003eRaw Salt\u003c\/em\u003e impresses as a magnificent collection of lyric craft and poetic invention. Roberts-Orr traverses landscapes and griefscapes through poems that display a quiet and genuine confidence in lyric form. Every poem in \u003cem\u003eRaw Salt\u003c\/em\u003e achieves emotional realism and is maximally realised, offering arresting effects in imagery and aphoristic insight, and speaking in a coherent, distinctive and persuasive voice. Thoughtfully curated and finely concentrated, the poems bring about a change in feeling, moving from grief at family loss to an outlook on life that is wary of illusions. \u003cem\u003eRaw Salt\u003c\/em\u003e is an extraordinarily skilled and impressive debut. It is a joy to tread these expansive poems that reveal more depth with each reading.' 2024 Anne Elder Award judges\u003c\/p\u003e\n\u003cp\u003eIzzy Roberts-Orr's debut collection\u003cem\u003e Raw Salt\u003c\/em\u003e explores contemporary elegy and writing the environment—excavating and engaging death and its aftermath, lineages both ancestral and intellectual. Responding to the sudden death of Roberts-Orr's father a decade ago, Raw Salt is a work of mourning and memory, healing and consilience. The collection is raw with lived experience, the complex history and inheritance we each receive with the death of a parent. The ongoing presence of her father, a horticulturalist, shines through Roberts-Orr's deep attention to the natural world, rendered in poems of extraordinary clarity and precision, offering a kind of healing we might all attend. A complex and deeply human work, this debut collection explores with nuance and generosity the darker undercurrents, the cycles of growth, decay and destruction, sustaining us and the ecosystems from which we have evolved and, as with the departed, are always a part. Izzy Roberts-Orr's \u003cem\u003eRaw Salt\u003c\/em\u003e introduces a remarkable new voice to Australian poetry.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe work of \u003cem\u003eRaw Salt\u003c\/em\u003e is attentive to the flow and forms of mourning. These poems sit with what keeps us from sleep as they score the music of endurance. These are achy, tender, formally expansive poems that set out from a child’s loss of her father to situate human loss and gain amidst the more-than-human world. Raw Salt is remarkable for its range, courage, raillery and vitality. \u003cstrong\u003eFelicity Plunkett\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eIzzy Roberts-Orr is a poet, writer, broadcaster and arts worker based on Dja Dja Wurrung Country. Izzy is Creative Producer for Red Room Poetry and a 2020-2022 recipient of the Australia Council Marten Bequest Scholarship for Poetry. \u003cem\u003eRaw Salt\u003c\/em\u003e was the recipient of a Wheeler Centre Hot Desk Fellowship, and longlisted for the Colorado Prize for Poetry.\u003c\/p\u003e\n\u003cp\u003eIzzy Roberts-Orr, \u003cem\u003eRaw Salt\u003c\/em\u003e\u003cbr\u003e2024. 148mm x 210mm. 96pp.\u003cbr\u003eISBN 978-1-925735-59-8\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.\u003c\/p\u003e\n\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/CreativeAustraliaLogo_HorizontalBlack_Medium_306d6307-95f0-44ae-b87e-e933241d9921_480x480.png?v=1701428706\" alt=\"\"\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":44163399123101,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Roberts-Orr_RawSalt.png?v=1701428335"},{"product_id":"ashley-haywood-polyp","title":"Ashley Haywood, Polyp","description":"\u003cp\u003e\u003cstrong\u003eSHORTLISTED FOR THE MARY GILMORE AWARD 2025\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHIGHLY COMMENDED in THE 2024 FIVE ISLANDS PRIZE FOR A FIRST BOOK OF POETRY\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN\"\u003e'There is a profound integrity to the ecological voice evident in \u003ci style=\"mso-bidi-font-style: normal;\"\u003ePolyp\u003c\/i\u003e. Meticulously researched, these compressed yet expansive poems respond to the archives of paleologist and geologist Dorothy Hill with an intuitive, radical approach to language that allows the non-human world to speak, to resonate within the reader in profound ways. \u003ci style=\"mso-bidi-font-style: normal;\"\u003ePolyp \u003c\/i\u003eis science-based poetry that resonates with feeling and does so the more it is re-read. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN\"\u003eHaywood breaks the poetic line mid-word, turns phrases into sculptures or rock formations, makes the white space of the page stutter and breathe. The poetry enters vivid and thrilling conversation with other art forms. It is filled with questions, exclamations, dashes, ellipses and flashes of aphoristic insight and humour, and yet achieves a collection of coherence. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"EN\"\u003eThe poems are finely crafted and as sparse as a coral reef or the remains of a forest. Haywood takes us out of our human ego into the vastness and connectedness of the natural world in the anthropocene. The poems reach for survival and call through time, imploring \u003ci style=\"mso-bidi-font-style: normal;\"\u003eWhere do I go? Who do I tell? Can you hear me?\u003c\/i\u003e\u003cspan style=\"mso-spacerun: yes;\"\u003e  \u003c\/span\u003eThis collection is a new kind of ecopoetry and a testament to the power of very few words to express an immense amount.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 12.0pt 0cm 12.0pt 0cm;\" class=\"MsoNormal\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan lang=\"EN\"\u003ePolyp \u003c\/span\u003e\u003c\/i\u003e\u003cspan lang=\"EN\"\u003eprovides a fresh reading experience and proposes a new ecology of how language works. The collection is playful in form and deeply serious in how it offers us pause to feel and see the world anew. Though minimal in length, this collection swells with deep echoes of resonance. The reading experience is akin to wandering through an art exhibition or immersion in music. It acts as an artful field guide as to how we might attend differently to the relationship between the human and more than human world.' \u003cstrong\u003e2024 FIVE ISLANDS PRIZE JUDGES' REPORT\u003c\/strong\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"margin: 12.0pt 0cm 12.0pt 0cm;\" class=\"MsoNormal\"\u003e'The work of a compellingly unorthodox poet who experiments with form, format and voice in a way that combines human intimacy and compassion with the taxonomical terminology and systematic rigour of science, \u003cem\u003ePolyp\u003c\/em\u003e flows in many directions across many concepts and theories relating to Earth’s geological time scale and the impact of the Anthropocene.' Barnaby Smith in \u003ca href=\"https:\/\/plumwoodmountain.com\/book-review\/barnaby-smith-reviews-polyp-by-ashley-haywood\/\"\u003ePlumwood Mountain Journal\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003ePolyp\u003c\/em\u003e, named after the coral’s tentacular polyp, is Ashley Haywood's highly anticipated debut collection of poetry. Drawing upon paleologist and geologist Dorothy Hill’s collected papers for inspiration, Polyp explores corals, fossils, seeds; tracing out the I of the poems through strata, deep-time, and the Anthropocene with urgency, compassion and the kind of anxiety that spurs action. This remarkable livre compose seeks the ineffable in the loops and flows of ecological and geological systems, as well as through its own linguistic formalities and experimentations. \u003cem\u003ePolyp\u003c\/em\u003e grows from itself like fractal shoots, then snips its feet to create new forms. A wild I slips between layers on the page, desirous of multiplicities, time-fullness and connection, looking back to ask, \u003cem\u003eWho’s there? What poem are you?\u003c\/em\u003e Exquistely rendered through fragmentation and recombination, Haywood's debut collection offers a vital and nuanced reinvigoration of ecopoetics, raising the questions for each of us, 'What have I done, what haven't I done?'\u003c\/p\u003e\n\u003cp\u003eDiffracting ecology through body, burial through being, speech through matter, Haywood's map-making renders language molecular. Polyp charts cartographies of deep time, deep memory, distant horizons, where strangeness steeps into self, where the many-speaking mouths of lands-to-come wait to wake us. \u003cstrong\u003eShastra Deo\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e... a quiet voice that draws us to consider the brevity of human consciousness against the enormous span of geological time … Thought-provoking, playful, poised. \u003cstrong\u003eThomas Shapcott Award Judges\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAshley Haywood\u003c\/strong\u003e is writer, artist and poet whose work often dwells in the art-science nexus. She is the inaugural UQ Fryer Library Creative Writing Fellow (2017-2018), thrice shortlisted for the Thomas Shapcott Poetry Prize (2020 Runner-up, 2021, 2022), and winner of the QRAA Ekphrasis Challenge (2020) in her category. Ashley’s poetry has appeared in \u003cem\u003eAustralian Poetry Anthology, Cordite, Australian Poetry Journal, Meanjin, Southerly, Rabbit, AXON\u003c\/em\u003e and \u003cem\u003eTEXT\u003c\/em\u003e, among other places. She holds a PhD on signs, minds and creativity, or how to write like painting, and has a background in biological science. She currently lives on Kau-in Kau-in of the Ningy Ningy and Gubbi Gubbi Peoples just north of Meanjin with her partner and their four-year-old son.\u003c\/p\u003e\n\u003cp\u003eAshley Haywood, \u003cem\u003ePolyp\u003c\/em\u003e\u003cbr\u003e2024. 148mm x 210mm. 64pp.\u003cbr\u003eISBN 978-1-925735-66-6\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/CreativeAustraliaLogo_HorizontalBlack_Medium_306d6307-95f0-44ae-b87e-e933241d9921_480x480.png?v=1701428706\"\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":44163412164765,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Haywood_Polyp.png?v=1701428262"},{"product_id":"svetlana-sterlin-if-movement-was-a-language","title":"Svetlana Sterlin, If Movement Was a Language","description":"\u003cp\u003e\u003cstrong\u003eWinner of the 2023 Helen Anne Bell Poetry Bequest Award\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCommended in the 2024 Anne Elder Award\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'A highly individual work that depicts the life-world of the poet as swimming coach, whose intimate experiences of water, buoyancy, speed, fluidity and the locales of swimming pools become symbols of growing up between far-flung countries, societies and languages. Acting as a set of ‘theme and variations,’ the poems achieve a strong sense of character and of devoted attachment to the act and associations of swimming, achieving fresh effects and perspectives with each iteration, and evoking the confidence that arises from daring to test boundaries.' 2024 Anne Elder judges\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e'If Movement Was A Language\u003c\/em\u003e is a triumph of a book, one that feels both immersive and expansive, immediate and approachable, timely and timeless.' Tim Loveday, \u003cem\u003eOur Culture Magazine\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOne of \u003cem\u003eAustralian Book Review\u003c\/em\u003e's Books of the Year 2024: \u003c\/strong\u003e'Svetlana Sterlin’s début poetry collection, \u003cem\u003eIf Movement Was a Language\u003c\/em\u003e, explores swimming – its rhythmic strokes and breathing – as spirited moments of liberation. The silence of being underwater is used to uncanny effect as Sterlin’s poems confront narratives of displacement and disappointment like a hard slap of water on the body.' Cassandra Atherton\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eIf Movement Was a Language\u003c\/em\u003e straddles many divides: between cultures, languages, classes, dimensions, states of matter, and the real versus the imagined—or (mis)remembered. The collection features recurring motifs around duality and duplicity, as reflected in the words’ fluctuating form on the page and the elusive image of light glimmering across water.\u003c\/p\u003e\n\u003cp\u003eInvasive like the chlorine that stains these poems, nostalgia is a heavy scent, woven through every line of the collection. And yet, even in the depths of reflection, \u003cem\u003eIf Movement Was a Language \u003c\/em\u003ekeeps its face turned always towards the surface, questioning the future and its possibility of various outcomes.\u003c\/p\u003e\n\u003cp\u003eAnchored in the author’s lived reality, the collection is interested in what might have happened in an alternate dimension—perhaps one where her family aren’t immigrants, or where they speak the same language with equal fluency, or where her father achieves the lifelong dreams for which so much has been sacrificed.\u003c\/p\u003e\n\u003cp\u003e‘... captivating in its evocations of swimming in literal and metaphorical terms, and in its characterisation of the complexities of a family life at once supportive and salutary. Each of the poems is striking as its own self-contained sigh and collectively they develop a powerful narrative arc mapped out in language that is fresh, lyrical, stylish and brave. The collection confronts ideas of displacement, mortality, human intimacy and self-knowledge in challenging and engaging terms.’ \u003cbr\u003e2023 Helen Anne Bell Poetry Bequest Judges\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eBorn in New Zealand to Russian\/Jewish parents, Svetlana Sterlin writes poetry, prose, and screenplays. The recipient of the 2023 Helen Anne Bell Poetry Bequest Award, \u003cem\u003eIf Movement Was a Language\u003c\/em\u003e is her first full-length collection. In 2023, her fiction was recognised in the Richell Prize and State Library of Queensland Young Writers Award. She has poetry and fiction in \u003cem\u003eWesterly, Island, takahē, Meanjin, Cordite, the Australian Poetry Anthology, \u003c\/em\u003eand elsewhere.\u003c\/p\u003e\n\u003cp\u003eSvetlana Sterlin, \u003cem\u003eIf Movement Was a Language\u003c\/em\u003e\u003cbr\u003eOctober 2024. 148mm x 210mm. 112pp.\u003cbr\u003eISBN 978-1-925735-71-0\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.\u003c\/p\u003e\n\u003cdiv style=\"text-align: start;\"\u003e\u003cimg style=\"margin-bottom: 16px; float: none;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/CreativeAustraliaLogo_HorizontalBlack_Medium_306d6307-95f0-44ae-b87e-e933241d9921_480x480.png?v=1701428706\"\u003e\u003c\/div\u003e\n\u003c!----\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":45741623935133,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Sterlincover.png?v=1721772595"},{"product_id":"jill-jones-how-to-emerge","title":"Jill Jones, How To Emerge","description":"\u003cp\u003e\u003cstrong\u003eWinner of the Kenneth Slessor Prize for Poetry in the NSW Premier's Literary Awards 2026\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShortlisted of the Prime Minister's Literary Award for Poetry 2026\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e'Jill Jones' \u003cem\u003eHow To Emerge\u003c\/em\u003e is a finely chiselled book of phenomenological lyrics, the latest in a distinguished, cohesive oeuvre. Divisible by three, these poems trace the conditions of existence through mysterious collaborations of self, other and language, 'slightly off-key', 'barely here'. In her exploration of the poetics of emergence, Jones is galvanised by inexorable process and the persistence of contradiction: 'I understand what I don't about some of this'; 'An endless dream escapes me' ... Advancing by non-propositional proposition, chances and crossings, How To Emerge is an absorbing, elegant collection of poetic numbers operating at the threshold of the personal and the impersonal. In its richly suggestive representation of worldly entanglement, it solicits readers willing to enter into a pact of mutual attention and unpredictable exchange.' 2026 Prime Minister's Literary Award judges\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cbr\u003e'\u003c\/em\u003eWhat pathways can humans explore to find growth, understanding and even peace? The task for any poet exploring these themes is to proceed free of sentimentality, cliché or proselytisation. \u003cem\u003eHow To Emerge\u003c\/em\u003e navigates these challenges with a combination of lyrical clarity and astonishing imagery. Jill Jones demonstrates an overarching sense of control as the poems unfurl an exploration of both language and lives. There is a quiet, depth-defying resonance throughout the book as it skates between sky, asphalt, weed, wharf, vulnerability and memory.\u003c\/p\u003e\n\u003cp\u003eThe possibilities for self are made endless through observation of the infinitesimal and ephemeral. Meaning emerges incrementally through rhythm, image and pause. Jones demonstrates a mastery of catalogue and repetition; with each reconfiguration, the world appears new, providing both answer and question.\u003c\/p\u003e\n\u003cp\u003eJones masterfully clips fragments of fact, inquiry and observation into a whispered wonder. These poems discover humanity, perhaps even meaning in the accumulating weight of the world; we are star dust, but we are also the brat summer. Part of the appeal of these poems is the rare faith they show in the reader, a belief that readers will find their own meaning and carry from the collection something of the warmth, humour and care that radiates from the poems.' \u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003eNSW Premier's Literary Awards judges\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e'To Emerge showcases the work of a poet in full, late, and enduring maturity. Its tonal gifts register a seasoned (and cyclic) pitch towards the future, \"ungathered now \/ a wheel across a field\" in which every ‘outline is its shimmer’ and the shimmer becomes an invitational dance to the reader to \"Let in the undone sky!\"' Shari Lynelle Kocher in \u003cem\u003eABR\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eHow To Emerge\u003c\/em\u003e, the latest collection from award-winning poet Jill Jones, is filled with visions and ghosts, doubles and shadows. It also explores the living and damaged body, as it dances with humans, birds, animals, leaves, the weather, digital assemblage, sound and song, the elements and the planet. Within this, a self grows into its moment and continues moving beyond itself. Questing and agile, these poems mingle in the world’s imperilled present and its past and future emergencies and losses. The book has an exhilarating and spontaneous sense of passage as the everyday touches everything here: life as it emerges and turns in seasons and trauma, desire and distance, scars and social ecologies, night and day, the music of the world, variations of joy, doubt and grief. As always, Jones’ poems are capacious, haunting and invigorating, as she offers a queer and tactile swerve through the desires and debris of past and present, and the uncanny echoes of our approaching futures.\u003c\/p\u003e\n\u003cp\u003e‘\u003cem\u003eHow To Emerge\u003c\/em\u003e, like all of Jill Jones’s work, exquisitely captures the attention of the heart and the mind. In its artful concern with the interplay between the human and the nonhuman, Jones adds to our understanding of identity as something continuous with, rather than somehow ‘above’, the material world. In addition to its subtle intellectual concerns, \u003cem\u003eHow to Emerge\u003c\/em\u003e further demonstrates Jones’s standing as a master poet, illustrating poetry’s potential in endlessly playful and inventive ways.’ David McCooey\u003c\/p\u003e\n\u003cp\u003e‘Jill Jones’s collection \u003cem\u003eHow To Emerge\u003c\/em\u003e is remarkable as it uses elements of avant-garde poetry but also has a pronounced lyric core, one that in itself both enunciates and problematises the perceiving self, which is at once vigilantly present, perplexed in its own constitution, and content to register externals—that which is not subjective, not even human—without any overarching or hubristic judgment.’ Nicholas Birns, New York University, co-editor of \u003cem\u003eThe Cambridge Companion to the Australian Novel\u003c\/em\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eJill Jones lives on Kaurna land. One of her most recent books \u003cem\u003eAcrobat Music: New and Selected Poems\u003c\/em\u003e was shorted listed for the 2024 South Australian Literary Awards, longlisted for the 2024 ALS Gold Medal and commended in the 2023 Wesley Michel Wright Prize. Other recent books include \u003cem\u003eWild Curious Air,\u003c\/em\u003e winner of the 2021 Wesley Michel Wright Prize, and \u003cem\u003eA History Of What I’ll Become\u003c\/em\u003e, shortlisted for the 2021 Kenneth Slessor Award and the 2022 John Bray Award. In 2015 she won the Victorian Premier’s Prize for Poetry for \u003cem\u003eThe Beautiful Anxiety\u003c\/em\u003e. Her work is widely published in Australia and internationally. An entry on her poetry is included in the current edition of T\u003cem\u003ehe Oxford Companion to Modern Poetry in English\u003c\/em\u003e. She was, from 2008-2022, Senior Lecturer in English and Creative Writing, University of Adelaide. She previously worked in senior positions in the Australia Council for the Arts, and NSW Ministry for the Arts. She has also been a film reviewer, journalist, and book editor.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eJill Jones, \u003cem\u003eHow To Emerge\u003c\/em\u003e\u003cbr\u003eSeptember 2025. 148mm x 210mm. 96pp.\u003cbr\u003eISBN 978-1-925735-75-8\u003c\/p\u003e\n\u003cp\u003eThis project has been assisted by the Australian Government through Creative Australia, its principal arts investment and advisory body.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/CreativeAustraliaLogo_HorizontalBlack_Medium_306d6307-95f0-44ae-b87e-e933241d9921.png?v=1701428706\"\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":46962046042269,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Jones_HTE.jpg?v=1750812098"}],"url":"https:\/\/vagabondpress.net\/fr\/collections\/award-winning-collections.oembed","provider":"Vagabond Press","version":"1.0","type":"link"}