Contemporary Australian Poetry

The Frugal Meal by Belinda Moxon

Great divide by Barnaby Smith

Hood Wink

by Corey Wakeling



temptation to brutalise the birch immediate,

deface the defensive quaintness appeared

when junior sycophant is the first receiver,

give instead the arrival motorcade

for full occupation. Le Corbusier is not far

from the tongue, just not quite on it,

wanting to be fed in his loft which constricts

his aquiline frame, which

is obnoxious to the mannequins, who

are Stoics. Warsaw capacity for a new colony;

we can live outside in its caves, surely,

but like Virgil Thomson we are up against

a formidable genius as commander.





ten thirty in the tenements and there is new cubism

to the screeching face quietened by

a thronging public for the rail to Warsaw

which is by chance going there, having been Byalystock

and birch forest first. It is not liked for metaphor,

send me to the immediate.





the birches are swaying, like paganism,

and all of my cold resistant clothing is torn from me

and the miniature crows stifle the rescue

elegy of an Australian survivor and author of three

books of sentimental pseudo-autobiography.

Where might the right hagiogram be writ

to cut hagioscope from Warsaw to Melbourne,

giving me the pariah purview

to scratch hagioscope with dignity. Haworth and

Flaws in the Glass in a window which bent

but would not open. Never open maybe!

The theatre is atrocious, because unlimited,

and more brash than a keyboard, unless you touch

it with some virtual sense of innocence,

less commoditised than actual, and only

virtually might you throw off your lids.

Corey Wakeling is the author of Gargantuan Terrier, Buggy or Dinghy (Vagabond Press, 2012) and Goad Omen (Giramondo, 2013), and co-editor of Outcrop: radical Australian poetry of land (Black Rider Press, 2013). Corey was born in England, grew up in Perth, Western Australia, and studied and taught in Melbourne until a recent move to Japan. His poetry has been described as “delirious” (Ali Jane Smith, Southerly), “a new music, and a new awareness” (Philip Mead, Cordite Poetry Review), and a “millennial threat” (Duncan Hose, Rochford Street Review). As a critic, his work is concerned with the juncture between concept and sensation. He is Lecturer in English and Drama at Kobe College in Nishinomiya, Japan.