POETRY RAGE

Poet and co-MC Maggie Ball
launches 100 Poets

 

Poet Sarah St Vincent Welch launches
Bitumen Psalms (Kolkata/Calcutta style).
Photo: Dylan Jones

Poet and singer/songwriter Clark Gormley (left)
has a moment with co-MC Richard James Allen

So it was a raging success! A ton of Flying Islands poets, friends and supporters at The Shop Gallery in Glebe, January 26, all celebrating this year’s seven new Pocket Poetry titles, alongside Flying Islands’ first anthology 100 Poets! 

The pocket books are: Filmworks by Brian Purcell, Flower Ash by Huang Fan — translated by Josh Stenberg, The Heart’s Lush Gardens by David Adès, Separation Blues: Poems 1994-2024 by Nathanael O’Reilly, Stranded by Bronwyn Rodden, Tadpoems by Tug Dumbly and my own Bitumen Psalms. 100 Poets is edited by Brian Purcell and Flying Islands Series Editor Kit Kelen. 

Richard James Allen, poet, filmmaker, choreographer and performer was an entertaining emcee for the 2025 Pocket Poets section. The engaging Maggie Ball, poet, novelist and podcaster, launched 100 Poets and kept the lively mood going during readings by quite a number of contributing poets. 

All the launch speeches were thought provoking. A special mention to dear friend and collaborator Sarah St Vincent Welch, writer, image-maker, editor, and writing teacher. Sarah gave me a Calcutta style launch where basically every time the new book (tied with red ribbon) is held high, the whole audience applauds resoundingly. And they did. It added to the joy of this celebratory occasion. I especially enjoyed Sarah’s personal story of having to write out Psalms at school, a writing exercise she enjoyed. Very special thanks also to Dylan Jones for the book design and Kate O’Connor for the author photo. 

The readings were inspiring, amusing, enlightening. Across these new poetry titles, you will find poems on the history of great films, poems of wonder and sadness, poems of cultural or political absurdity, poems that get to the heart of the matter, travel through times and homelands, and poems that explore the strange worlds of everyday life and other complexities. 

Phyllis Perlstone reads her poem
published in 100 Poets

Visit https://flyingislandspocketpoets.com.au/product-category/2025/ to see these books and their striking covers. Click on each cover image for full information (and from where I borrowed descriptions in the above paragraph). Subscribe to receive all of this year’s new releases and a bonus two Flying Islands books. Alternatively, you can just order individual titles. 

A bonus for us all was sharing the space with poet, musician and artist Brian Purcell’s solo exhibition Floodlands. Whether tantalising waterscape or delectable still life, Brian’s paintings move with colour and vitality. You can see more here: https://brianpurcell.art Of course we all owe enormous thanks to The Shop Gallery owners, poet and artist Anna Couani and sculptor Hilik Mirankar.

At The Shop Gallery:
Floodplains exhibition by Brian Purcell;
Pocket Poetry sales on the pavement

Poet and exhibiting artist Brian Purcell
— also co-editor of 100 Poets

POETRY & PLACE = JOY

 

[Riff] 

Unbelonging 

Place. ‘Mind your place.’ It’s not your place. It’s not my place. A place at the table. Stay in your place. Do you have a place? Give up your place. 

Place. New place old place lived in that place moved to this place moved from place to place settled in this place are you settled will you ever settle? Settled. Settler! 

Belonging. Not belonging. Unbelonging. 

Longing. 

This place. That place. No place.

Displaced. 

Place through the eyes of longing. Joy of place. 

Place through the eyes of unbelonging, longing. Poetry. Poetry of place. Joy of place. 

That’s the one. Joy of place. Poetry. Place poems. Share the joy. Here’s one. Hope you enjoy. 

grasses breezy 

land alive with skitter and crawl 

wedge-tails circling the rising air 

smaller raptors stooping 

dropping through sky 

Excerpt from the title sequence in my latest collection 

Bitumen Psalms (RRP $12.50 Flying Islands Pocket Poets, 2024/25)

One of eight new FIPP titles

Watch for readings

LOW-FLYING DUCKS & POETRY

There are always amusing or special moments from changing skies to kangaroos and foxes giving you a nod or low-flying ducks or hawks swiftly passing your windscreen.

So grateful to have an interview in The Monthly arts journal published online by Community Arts Partnership (CAP) in Belfast, Ireland. They’ve also provided links to five of my eight readings filmed at the James Joyce Library at University College Dublin (UCD). Worth visiting for the range of poetry interviews from Scottish-Australian poet Ali Whitelock, to Scottish poet Magi Gibson and Canadian poet Catherine Graham. There are videos of Seamus Heaney reading Digging and Sinéad Morrissey talking about her poem inspired by the painting Titian, and spoken word music, podcasts and links to International Page and Stage online events, just to mention some.

Great thanks to Ali Whitelock for connecting me with The Monthly and to Gordon Hewitt, editor, for the opportunity.

Photo: Oh aye — wandered past this plaque in Dublin 

for the UCD readings but we were too late for Seamus

MAY DAY MAY DAY POETRY CALL OUT

 

If you’re writing about Antartica here’s a new opportunity to be published. Send up to four poems (of up to two pages each) to Griffith Review 77: Real Cool World (published in partnership with the Australian Antarctic Division) by May 13, 2022. Real Cool World will explore Antarctica as a place and as a canvas for imagination. This vast, dry continent drives much of the Earth’s weather, part litmus test for change at the world’s extremities and part canary in the coalmine...

Island Magazine — premium literary magazine of fiction, poetry, nonfiction and arts features — open to submissions from Australian and New Zealand writers until May 15. Island pays a fee of $125 (less cost of Island subscription if not currently subscribed). The current issue includes the winning entries of this year’s Gwen Harwood Poetry Prize. 

The Australian Centre for Leadership for Women (ACLW) is calling for prose and poetry submissions for a fund-raising anthology titled Prose and Poems for Ukraine by Women of the World. Deadline: May 22. 

Rabbit is currently accepting submissions of nonfiction poetry for Issue 36: the ART Issue. Think not: what does 'non-fiction' do to poetry; think: what can poetry (+ art) do to non-fiction? What do poetry and art bring to one another? How does one open and enlarge the field of the other? How do they enliven the 'real world'? More information here. Deadline: May 31.

Photo: Mini snowman by granddaughter Ruby (Belfast, January 2022)

OK RIGHT — POETRY & BELONGING

Here’s an interview I did for the Belfast Telegraph one of the main papers in my hometown: ‘Place is belonging and writing about place can be a search for belonging' (October 16, 2021). I slipped it in before life went pear shaped. The first poem in The Wear of my Face is not about pears for nothing. However, with floods and wars, other people’s lives are currently even more peary. 

This is what I was thinking at the time: ‘I sometimes think I write to find solid ground in a story of loss, migration, colonisation and class. For me, place is belonging and writing about place can be a search for belonging – an attempt to understand one’s own displacement or the displacement of others and what that must be like.’

PS OK so the photo was actually taken in Dublin (January this year) rather than Belfast.

FROGS AND POEMS

 

 

 

 

 

I’ve had a bit of a froggy week. Got back to recording frogs with the FrogID app, even wandering right down to our small dam to get clearer calls and maybe even sight a frog or two (I didn't). Then I decide to drop into Rattle (#71 Spring 2021) and there is the poem Go Out and Listen to the Frogs. Such a lovely poem even if you don’t love frogs. It’s by J R Solonche.

 

PS VORTEX: THE CRISIS OF PATRIARCHY

Speaking of Vortex: The Crisis of Patriarchy (Spinifex Press 2020) you may like to listen to the author Susan Hawthorne on this FiLiA podcast at https://filia.org.uk/latest-news/2020/12/28/susan-hawthorne-vortex-the-crisis-of-patriarchy Covers a range of issues including the impact of climate change on Australia. She speaks with clarity.

Another PS to the same post below: I will not Bear you Sons is by Usha Akella. Usha is Poetry Editor of Lucy Writers' Platform.

THREE POETRY ANTHOLOGIES

 

 

 

 

 

 

 

 

 

 

 

 

Here are three of this year’s anthology releases and I’m thrilled to have a poem in each of them: Anthology of Australian Prose Poetry (MUP, eds. Cassandra Atherton & Paul Hetherington, RRP $39.99 pb, 232 pp), Australian Poetry Anthology, Volume 8/2020 (Australian Poetry Inc, eds. Sara Saleh & Melinda Smith), These Strange Outcrops: Writing and Art from Canberra (Cicerone Journal, RRP $10). Belated thanks and congratulations to all the editors. See the links for more information including how to buy.

 

If you'd like to know more about Canberra's iconic Cummings bus shelters (featured on the cover of These Strange Outcrops) visit Capital History Here. I used them on occasion — and got a poem or two — but mostly I saw them in passing as my Yass-based Transborder bus tootled through the ACT dropping us regional commuters off at key work spots. Also remembering now how much we all valued our Transborder drivers (I'm talking 1990s) — they were mates. Also remembering the day I could NOT stop coughing! Driver John handed  a Soother to the passenger in the front seat and it was handed along until it reached me, and I discovered Soothers really do work just like on the ads. Who'd have thought ...

 

 

A TIME TO SIT WITH THE TREES

Just a scrawl

Update December 3, 2022: This post turned out to be a seed of a poem which was eventually developed enough to be accepted into a brand new anthology titled It's All Connected: Feminist Fiction and Poetry (Spinifex Press). See more in today's new post Poetry — It's All Connected.

Walt Whitman watches as I approach his table Oh you again he says   I’m not in the mood  he looks perplexed Ignoring him I sit under the depiction of a famous portrait of the poet Watercolour and ink I think

Eventually without realizing it I fold into the same position – physical that is  I don’t realize it until another customer excuses himself I’m sorry I just have to tell you you look exactly like the picture behind you – have you seen it? I’ve forgotten the detail, turn and there we are mirror image hand on chin staring … Walt stares across the quiet café out through the glass into the streets where a pandemic is unfolding

I am cramming on space weather and real weather while bare earth too slowly washes green and groves of sorry trees freshen expand their curling leaves

 **

This is from March 5. With work, workshops, poetry readings and you name it cancelled and everyone in at least semi self isolation it’s a time to ‘Go and sit in a grove or woods …’ (provided you don't have to travel to get there). More about Walt Whitman* and the wisdom of trees here:

https://www.brainpickings.org/2017/11/06/walt-whitman-specimen-days-trees/

And this website features the original study:

https://www.brainpickings.org/2018/08/15/walt-whitman-specimen-days-poetry-art/

*Yes I did have Walt Wisdom!! I've corrected it.

STOP PRESS: CANBERRA TIMES POETRY SUBMISSIONS

Stop Press: The next Canberra Times submissions window is March 15-30. Submissions are now quarterly (subject to change) so it's just a small intake of poems each time. I'm especially interested in receiving work from more Indigenous poets this round. 

Send up to three UNpublished poems to canberra[dot]times[dot]poetry[at]gmail[dot]com but ...

Slow down: First, please do read the latest guidelines which you'll find here. 

Thanks for passing the word on.

Cheers
Lizz (in my Canberra Times Poetry Editor hat)

INK, SWEAT & TEARS & A POEM I READ

I visited the current Ink, Sweat & Tears issue thanks to a celebratory Facebook post from Ali Whitelock telling us her poem the cumquats of Christmas past is published in their 12 Days of Christmas 2017 feature. I’m glad I did. Ali’s writing is dense with imagery and emotion. For more of her evocative poems dander over to http://www.aliwhitelock.com/poetry/ Ali Whitelock is a Scottish poet living in Sydney and someone to follow. Back at Ink, Sweat & Tears and I was also impressed by UK poets Jane Burn and Nicola Slee, published on the same day of Christmas.

The journal has a number of categories including Reviews, News, What Makes Writers Tick, Haibun, Haiku and Haiga, and Words & Images. Needless to say, I couldn’t resist the latter. Here I was taken with Kevin Reid’s Victorian Sisters — compelling, broken, tender.

Check out the IS&T anthologies and pamphlets while you're there. If you’re a writer you may be interested in the next submissions deadline which is February 1. Add it to your 2018 list of potential publication opportunities — I know you'll be on that job very soon. Happy New Year by the way.

SUBMISSIONS CLOSED

The latest Canberra Times poetry submissions call has just closed. Due to the high volume of submissions, only poems received during the submission period of November 15-30 will be read. Sorry to disappoint those who sent poems before the fifteenth (even during October), but submissions will be quarterly next year so you won’t have to wait too long for another opportunity.

CANBERRA TIMES POETRY SUBMISSIONS: NOVEMBER 15-30

Poems polished and filed? The next poetry submission call for The Canberra Times is November 15-30. Basically it's a matter of sending up to three unpublished poems, maximum 28 lines, to canberra[dot]times[dot]poetry[at]gmail[dot]com preferably in one attachment — but please read the full updated information/guidelines available here. I look forward to receiving your poems.

Lizz Murphy

The Canberra Times Poetry Editor

SHOUT OUT: POETRY SUBMISSIONS

While I think of it, the next submission period for Not Very Quiet poetry is around November with the second issue coming out early in the year. Moya Pacey, Sandra Renew plus a guest co-editor to be announced, are still working out the details. Keep an eye out.

Here’s another couple of submission calls: Failed Haiku closes on the 25^th of each month, the Coolibah of Ultra-Short Poems (ed. Peter Bakowski) closes December 1 and The Moth Poetry Prize (€10000 plus runner up prizes) closes December 31. Blue Pepper edited by Justin Lowe continues on — send any time. I’ll be talking to you soon about The Canberra Times new submissions periods.

I source journal and submission information direct from journal websites and email news and via poetry networks and social media — my thanks to those poets who take the time to spread the word. I pass it on as much as I can.

POETRY ON THE MOVE: CREATIVE RESPONSE

Poetry workshops, poetry readings, book launches, poetry in translation, panels, exhibitions, all on themes relating to Boundary Crossings. Find the Poetry on the Move 2017 program here. The festival is organized by the International Poetry Studies Institute (IPSI) in the Faculty of Arts and Design at the University of Canberra. It's directed by Paul Munden.

‘Take Five’: The Creative Response

Ten poets will talk about their creative response as part of the forthcoming anthology titled Take Five (ed. Kathy Kituai). Hear about Kathy Kituai's project and the diverse responses by Kathy Kituai herself, Paul Hetherington, Paul Munden, Judith Crispin, Owen Bullock, Kerrie Nelson, Melinda Smith, Sarah Rice, David Terelinck and myself, on Thursday, September 14, 4.00 pm-6.00 pm, Building 1, A21.

FourXFour POETRY RELEASE

Poetry Day Ireland was held on April 27. A special double issue of FourXFour was released as part of its celebrations. I am happily one of the eight invited contributors in Issue 20/21: Spring 2017. It's a beautiful range of voices. I just wanted to give you the updated link: http://www.poetryni.com/fourxfour.html And here's a local splash of purple while I'm at it.

FourXFour — NORTHERN IRISH POETS

Delighted not only to be an invited contributor to FourXFour one of Poetry NI’s online journals, but to be part of the special double issue to be released on Poetry Day Ireland, April 27. The other contributors are Nathan Armstrong, Julieann Campbell, Michael Conaghan, Aine MacAodha, Willetta Fleming, Gareth Osborne and Patrick Taggart. FourXFour is edited by Colin Dardis. 

You can read about Poetry NI here: http://www.poetryni.com/about.html You can read about its founder Colin Dardis, a dynamic poet and poetry activist based in Belfast, here:

http://www.colindardispoet.co.uk/ There is plenty about Poetry Day Ireland here: http://www.poetryireland.ie/whats-on/category/poetry-day 

NOT VERY QUIET POETRY

 

This is great news indeed. Canberra poets Moya Pacey and Sandra Renew have established a new online journal for women’s poetry called Not Very Quiet. The issues are thematic and based on a quotation selected by the editors or guest editors.

The journal and its first submission period will be launched Monday March 20, 7.00 pm - 8.00 pm at Smith’s Alternative, 76 Alinga St, Canberra City by Melinda Smith of 2014 Prime Minister Literary Prize (Poetry) fame.

I’ll be reading at the launch with other poets including Melinda, Jen Webb and Victoria McGrath. If you’re near Canberra join in the celebration.

There’s an open mike!

Meanwhile check out the background information, submission guidelines and first theme at https://not-very-quiet.com/

 

SPECULATIVE POETRY PRIZE

The international InterstellarAward for Speculative Poetry is open to all forms of poetry. It closes on May 1 so either get your speculative skates on or employ a sci-fi strategy … like ... time travel?

Interstellar defines speculative poetry as ‘… science fiction and fantasy, all sub-genres such as space opera, hard SF, soft SF, paranormal, steampunk, new gothic, supernatural, metaphysical fantasy, magical realism, and all hybrid genres, including new ones of your own making. The only proviso is that entries contain at least an element of the speculative.’ There’s a 60 line limit and a $12 entry fee. First Prize is $1000, Second Prize is $300. A shortlist of ten poems will be posted on June 1 and final results on June 12. They don’t muck about. (This is great.)

And if you’d like to read more about speculative poetry generally, the piece I wrote a while ago might give you a start. You can find that post here. For a terrific selection of Australian speculative writing see PS Cottier and Tim Jones’ anthology The Stars Like Sand (Interactive Press). (Yes - I have a poem in it.)

Also watch for submission calls later for Interstellar’s first anthology - to be released in 2016.

MORE CANBERRA POETRY

PS

So - I’m enjoying more poetry from The House is Not Quiet and The World is Not Calm (eds. Kit Kelen and Geoff Page) this time seeking out poems by friends and colleagues who are also Facebook friends:

Judith Crispin’s control of light is as effective in words as it is through the lens, ranging from a passing spark to a light that bounces and binds – see Light Picture. Amelia Fielden’s Three Tanka are delicacies – love the touch of the wry in the last. There is the warmth of strangers meeting in Hazel Hall’s subtle and compelling An Australian Christmas Carol. I felt chafed in personal places just reading Melinda Smith’s No Bed and scrabbling for tissues after both Untitled and New Undergraduates Tour of the Psychology Clinic - not to be missed.