Edited by Matthew Hall and Jeremy Balius, the first edition features:
What people are saying
Balius and Hall have not so much edited as curated a powerfully critical, vital, and ranging assemblage of poetries as environmental archeologies, retracing colonial violences and suppressions’ “chiasma?/
e/merging in the present…” – Trisha Salah, author of Waiting in Arabic, Contributing Editor EOAGH
This is an uncommon collection of writing. Jarring yet hypnotic, raucous yet intimate, staccato yet sustained — forward slash prods the conventions, premises and assumptions of ‘mainstream’ poetry. Set in a transhemispherical and postcolonial context, this anthology of experimental Canadian and Australian poetries should be of interest to anyone intrigued by language — its possible trajectories, its pliant spatiality, its capacity for expression beyond steady imagery and common narratives. – John Ryan, editor, Landscape, from International Centre for Landscape and Language Research Group
forward slash is a wonderful poetic antidote to much of the polite verse presented today in traditional journals. It is like being in a strange calligraphic city where around every corner there is a surprise. And fortunately not all of them are happy ones. – Glen Phillips, retiring poet.
forward/slash invites your eyes and ears – music is diction here. Score on the page, thought on the tongue. if there is a single / direction / the reader will discover that it is plural (LA) To make new language, tune it differently and play it taut :: it will create new thought. Am I behind these lines? (ajr) Tradition? There is no going back in the way / You fancy (DH) Get off the pedestrian walk: [these poems] are boneless and make good eating. (MF)
‘The best way to find out about poems is to read the poems.’ Louis Zukofsky, ‘A statement for poetry’ in Prepositions, 1950 (Uni of Cal Press). Of course he’s right. – Andrew Burke