Axis Z Book 3 (Axis Z Series 5, 7)

Literature & Fiction

Carruthers, A J

Poetry

Cordite Books

Poetry. Literary Nonfiction. Women's Studies. "Calenture. The first time I heard the word, I saw her diving. From the cliffs of Kuttawa, her long arc into the lake they flooded a town to create. A fever so verdant it calls you by name. The water was vaguely green-edged that summer. Some algal bloom, which never hindered my sister. I never jumped. Not then. Years later, the fever came for me, blind in her wake. It called me by her name. "Poe said 'the death of a beautiful woman is, unquestionably, the most poetical topic in the world.' I don't want it to be true, but here we are. Every elegy needs an author. And then, an autopsy. "In the decade after she died, my poetry became diagnostic, archaic, hysteric, mesmeric. This book is ossuary to a constellation of deaths, some sudden, all strange. It is also a catalogue of medical and mercurial oddities, curiosities that call forth the exquisite corpse hard at work beneath our living flesh. The echolalic duet between what is lost and what is left behind. The phantom limb. The wandering womb. The book bound in skin. The face that ghosts itself. The fever dream that ends in drowning. The writhing grace of speaking in tongues. The Holy Ghost, that only permissible husband in the unkempt dance of our girlhood. Home: our pale host to long winters and shared delusions, borne of boredom and endless grooming. The countless ways in which we coaxed our bodies into clothes and, later, coffins. "This is what I know, now. It is never banal to watch someone unfurl. "Come in, won't you? The grass is fine."--Lindsay Tuggle

Calenture

Tuggle, Lindsay

Poetry. Art. Film. Music. "Paul Bowles said 'whatever one writes is in a sense autobiographical, of course. Not factually so, but poetically so.' The poems here connect with nerves in bodies, pixels on screens, letters in words and the air's water content. There are unwitting dialogues with texts gone before; texts that have floated into the spaces I travel--online, on a bookshelf, in a dream, a film, another country, on the television. "I process them they process me. "They mingle with the ways I experience social and political currents (somewhere between solid and liquid: despair and hope). I try things, and sometimes something happens. "Now, these poems float in this book for you to process for them to process you."--Pascalle Burton

About The Author Is Dead

Burton, Pascalle

Poetry. Literary Nonfiction. Ecopoetry. YUIQUIMBIANG is part of an ongoing project to create an ecopoetic form that integrates political essay and environmental poetics: a project that evolved out of the author's double life as a poet and environmental activist. It was driven by a desire to develop a radical ecopoetic form that would effectively communicate Australia's ecological crisis as encountered in two specific regions--East Gippsland and the Monaro--and enact an alternative inhabitation of the land.

Yuiquimbiang

Crisp, Louise

History & Criticism

About the Author\nAstrid Lorange is a writer, editor and teacher from Sydney. She lectures at University of New South Wales Art & Design. She is one half of the critical art collective Snack Syndicate. Her research looks at social infrastructure and networks of care/struggle. How Reading is Written: A Brief Index to Gertrude Stein was published by Wesleyan University Press in 2014. Poetry books include LABOUR AND OTHER POEMS (Cordite Books, 2020), PATHETIC TOWER (Make Now Press, 2014), EATING AND SPEAKING (Tea Party Republicans Press, 2011), Minor Dogs and FOOD TURNS INTO BLOOD.\nPoetry. Literary Nonfiction. "We find ourselves in love or out of it; in a friendship but with an enemy; under contract; inscribed by the law; giving birth; accompanied by ghosts; making pacts; in pursuit of a lost object; oriented towards new and unknown attachments. We find ourselves in a relation, even when that relation is broken or non-reciprocal. This book is about relations and their ambiguous intimacies. The three poems approach the question of how to endure, survive, destroy or protect the relationships that both constrain and make life possible. I wrote these poems while reading the work of Andrew Brooks, Brandon Brown, Tongo Eisen-Martin, Silvia Federici, Elena Gomez, Stefano Harney, Saidiya Hartman, C?L?R James, Fred Moten, Jordy Rosenberg, Hortense Spillers, Wendy Trevino and Frank Wilderson III. The three poems that comprise this book are in debt to these thinkers and should be read as marginal notes to their ideas. One way to perceive relations is to study them intently and to construct a poetics in their shadow."--Astrid Lorange

Labour and Other Poems

Lorange, Astrid

Poetry. LGBTQIA Studies. This book's queerness is queer in structure, not just content. It queers edges rather than flirting with centres (there is flirting in it, by the way). It's unstable, multiple and accessible in the way you can read it anyway you like, backwards, upside down, pick 'n' mix. You only have to open it to see that. In it, form disrupts the normal, the expected, sanctioned ways of reading, and disturbs hierarchies of long and short, front and back, as well as top and bottom, dare I suggest, in various senses. König places poetry's upside-downness literally on the page. These effects haunt the book through iteration, erasure and doubleness as its words multiply, diminish and spawn across and around the pages. "This generative and fluent (even effluent) work also traverses bodies, inside them as well as outside, from permed hair to arsehole, wet spot to herpes blister, as well as through grounds and positions, over terrains as diverse as a club, a bed, an outback town, a London street, the Adelaide suburbs, the banks of Karrawirri Parri (the Torrens River). It's a book you can do things with and one you can also do things along with. You could read it in self-isolation, on the bus, during sex, or on a walk, say, by the Torrens. It's a book you can make into another book, taking apart its language as König does, to see how it fits, falls, fucks, tumbles and mulches with other things. Try it."--Jill Jones

Breathing Plural

Konig, Em

Poetry. Fiction. Literary Nonfiction. Asian & Asian American Studies. Women's Studies. Introduction by Merlinda Bobis. All doors are open in Lucy Van's poetry. Ingress and egress are multiple, even coincident. We've just touched what's here, or are about to touch it, when apprehension is quickly unsettled, halted or reconfigured. Because we're only passing through a door or another door is opening, as the poet offers: 'Another thought though (and oh, I think about how thought and though are very similar words).' Hers is a liminal though. Between what's touched and what's yet to be touched. Site of frisson. Contention. Then insight. "The book opens to Hotel Grand Saigon: 'I have gone back and now I am here.' 'Back' is her father's family and roots in Vietnam, opening the door to his migration history, only a peek, though ('Never write a poem about a boat'), then opening to Vietnam's colonial history. And now we are here where the Vietnamese staff 'are always ready to serve' the French and other holidaying Europeans and white Australians, and herself, the Vietnamese Australian poet 'coming home,' though also waited on or waiting in a gift shop and unable to ask, because she can't speak her father's language. Van's poetry is an ongoing decolonial passage. Each opened space and time takes to task the one just left, then comes home to the poet, her self-reflexive though pointing to her own entanglement. She's inside and outside these pasts and presents, or presences: touched and untouched." --Merlinda Bobis

The Open

Van, Lucy

United States

Leave Me Alone

Reid, Harry

SECRET THIRD THING is a hyper-real comment on this hyper-real moment: it is suff used with internet culture and reflections on the lives we live, now, largely online. What characterises Dan Hogan's poetry is the way that, each time we come close to fully apprehending the impending collapse of capitalism, we are waylaid by something more urgent and mundane. To be non-binary, as these poems show, is not to just be a secret third thing, it is to bring class consciousness to bear upon gender. Poetry. LGBTQ+ Studies.

Secret Third Thing (Cordite Books, 5)

Hogan, Dan

A Pirate Life (from Piracy, the board game)

Bolton, Ken

Humor & Satire

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