Category Archives: Australia

Pre-sale of ‘Outcrop – radical Australian poetry of land’

Outcrop presale image

Outcrop is a new anthology which collects contemporary radical Australian poetry of land, to be published in July 2013 by Black Rider Press. Delivery of pre-sale purchases will be in July.

Curated by Corey Wakeling and Jeremy Balius, Outcrop transcribes innovative and significant poetical approaches to land at the crossroads of ecologies and language.

The collection, rather than an exhaustive survey, represents a diversity of contemporary Australian radical poetic perspectives. These range from land in content and syntax, to voice, ecology, gesture and land of the body.

These are poetic experiments with landscape and geopolitics, exemplars of radical visions of land.

The anthology is approximately 240 pages in length, with up to 10 pages dedicated to each included poet.

Outcrop features a diversity of contemporary Australian radical poetic perspectives

Outcrop features poetry from Louis Armand, Laurie Duggan, Ali Cobby Eckermann, Kate Fagan, Michael Farrell, Lionel Fogarty, Keri Glastonbury, Matthew Hall, Fiona Hile, Duncan Hose, Jill Jones, John Kinsella, Astrid Lorange, John Mateer, Peter Minter, Sam Langer, Claire Potter, Pete Spence, Nicola Themistes and Tim Wright.

Outcrop is to be launched at ASAL 2013

Outcrop will be launched at the Association for the Study of Australian Literature (ASAL) 2013 Conference at Charles Stuart University in Wagga Wagga.

Held in July, the conference’s theme this year is ‘Country’ with a focus on topics which include the reimagining of the antipodes, discussing notions of country, region and location in literature, the sacred and the profane in country and the interaction between the cosmopolitan and the rural.

Outcrop is available at discounted pre-sale price for 10 days

Outcrop is available at a discounted pre-sale price for the next 10 days only. Save over 20% (including a saving on postage & handling) by pre-ordering Outcrop on Pozible.

Outcrop is available for $20 (inclusive of postage & handling) until 1 June 2013. Once launched at ASAL 2013, ‘Outcrop’ will cost $25 (plus postage & handling).

Also, available for the next 10 days are bundling opportunities, including limited edition printed chapbooks from the Black Rider presents Lyrics chapbook series. This series of chapbooks is usually only available in ebook format. These limited edition printed chapbooks will only be available for purchase as part of the pre-sale of Outcrop and will not be sold again.

For A$30 (inclusive of postage & handling), you can buy a copy of Outcrop at a discounted pre-sale price, plus your choice of one limited edition chapbook of new poetry in the Black Rider present Lyrics series by either Jill Jones, Michael Farrell or Ali Alizadeh.

For A$50 (inclusive of postage & handling), you can buy a copy of Outcrop at a discounted pre-sale price, plus all three limited edition chapbooks of new poetry in the Black Rider presents Lyrics series by Jill Jones, Michael Farrell and Ali Alizadeh.

For A$70 (inclusive of postage & handling), you can buy a copy of Outcrop at a discounted pre-sale price, plus all three limited edition chapbooks of new poetry in the Black Rider presents Lyrics series by Jill Jones, Michael Farrell and Ali Alizadeh, plus a discounted copy of Kirk Marshall’s debut short fiction collection Carnivalesque, And: Other Stories.

And finally, for the most discounted bundle of them all…

For A$80 (inclusive of postage & handling), you can buy a copy of Outcrop at a discounted pre-sale price, plus all three limited edition chapbooks of new poetry in the Black Rider presents Lyrics series by Jill Jones, Michael Farrell and Ali Alizadeh, plus a discounted copy of Kirk Marshall’s debut short fiction collection Carnivalesque, And: Other Stories, plus a discounted copy of Cottonmouth – An Anthology of New Australian Writing.

All pre-sale orders will be delivered after ASAL 2013 in July.

Put your order in for Outcrop – radical Australian poetry of land.

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Kickin’ it with Toby Fitch

This edition of the ‘Kickin’ it with…’ series is different.

Instead of a dialogue, we’re presenting a pattern poem called ‘nightcap’ by Toby Fitch. Toby kicks it with us by sharing some thoughts about the poem and the long road to everywhere.

(click the image below to enlarge)

About ‘nightcap’

My pattern poem ‘nightcap’ is the last poem in my book Rawshock (Puncher & Wattmann 2012) and is a kind of ars poetica, and a tongue-in-cheek one. Icarus makes an appearance as the “I” in the first half of the poem, though this “I” could also be the speaker, the subject being spoken to, or the poet. In the first half, I paraphrase Baudelaire’s ‘Get Drunk’. I was reading poems with Icarus in them by William Carlos Williams and W H Auden. In earlier drafts, I had allusions to these poems, but they didn’t work so I stripped them out. I was also reading ‘Drunken Boat’ and ‘Genie’ by Arthur Rimbaud, and I think the allusions are pretty obvious but necessary in the second half of the poem. Besides the sentiment that the poem teases out — the desire to let go of control in order to create — the dualities in the poem are probably the most important bits: the conflation of “I” and “you”, and then of “you and I” to “we/our”; the road of the conscious world doubling as the black river of the subconscious (think Ashbery, think also of the Underworld); the surface of the water with a child’s boat on it, as in the end of ‘Drunken Boat’, that in my poem transforms into a porthole and then doubles as the sky; and, of course, the two wings mirroring each other. I also like to think that ‘nightcap’ mirrors the first poem in Rawshock, ‘On the Slink’, which can also be read as an ars poetica, but with less intoxication.

About Toby Fitch

Toby Fitch was born in London and raised in Sydney. His first full-length collection of poemRawshock was published with Puncher & Wattmann, 2012, while a chapbook Everyday Static came out with Vagabond Press, 2010. He was shortlisted for the Peter Porter Poetry Prize in 2012 and has published poems in anthologies, newspapers and major journals, nationally and internationally, including Best Australian Poems 2011 and 2012, MeanjinThe Australian, Cordite, and Drunken Boat. He is poetry reviews editor for Southerly journal, and is a doctoral candidate at Sydney University.

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Kickin’ it with Levin A. Diatschenko

Hunched over little sewing tables in a cafe a while back, a friend said to me “There’s this guy up north – you gotta read his stuff, Balius. This guy is the real deal.”
He was talking about Levin A. Diatschenko. And I read his stuff. And he is the real deal.
I imagine Levin as this mystic journeyman way up north in the Territory, conjuring up these stories out of the ancient land and heat. I imagine him orchestrating little men made out of sticks and twine, dancing and shrieking around and around him. I imagine Levin looking up at the night sky and wonder what would reflect in his eyes.
We published My Soul Cried the Spaceman as an ebook (hit the link for the stores it’s at) and it’ll be out as a physical book in the near future.
It’s space, it’s mystic, it’s magical realist, it’s cool. It’s not for the squeamish, it’s not for the faint of heart (and not for kids!) and it doesn’t pull punches.
The Black Rider caught up to get down to the heart of the matter.
This is us kickin’ it.

Levin, when we first started discussing My Soul Cried the Spaceman our conversation filled with ideas stemming from esoteric systems, political thought, primal desires of man, spiritual matters and a range of other fields. I’d like to start here by asking about the concept of space drunkenness which I remember we spent quite a bit of time debating. What does it mean to be space drunk?
In the book space drunkenness is a condition that astronauts get from being in deep space too long. They usually get temporary amnesia, forgetting their own identities. Sometimes they awake from it as from a daydream, vaguely recalling uncharacteristic escapades they’d been on while in the trance. I wanted the spaceship and its actions to be metaphorical of mental activity. We all go on daydreams (perhaps of fights, arguments, sex, and so forth), and then snap out of these imaginative adventures. In the book I’ve made it physical; imagine if your body wandered like your mind does? You might snap out of it after doing something you regret. The astronauts open fire on cities, commit piracy, or just wander the universe lost in space drunkenness. Mastering control of the spaceship is therefore an astronaut’s equivalent of concentration or yoga.
Can you tell me a little bit more about this idea of accumulative or total human knowledge? I don’t think of this as omniscience, but rather, I see the last Thirteener character representing and being the summation of all experience of his people group. What role does this character fulfill in the story?
Borges said that on an eternal timeline all people would eventually do all things. I think this idea is very useful in terms of viewing humanity as a single being (or organ of the Earth being), as well as implying non-judgment. The idea with the last Thirteener, the last child of his race retaining all his ancestor’s memories in his head, is my experimentation with that concept. He is something of the Eternal Wanderer, or Adam Kadmon in Cabalistic philosophy. His appearance was the visible evidence of an abstract quality in the Earth Chain (the aspiration to unity) just as the appearance of the UN, say, is the visible manifestation of our desire for some kind of unity and cooperation in the world. The desire is there, and the existence of the UN is proof even though the ideal has not been accomplished yet.

Another layer to this concept is the spiritual idea about the external and internal worlds mirroring each other. Since this single being retains the memory of a whole human race, when he gives a speech in front of a huge crowd of people from another human race it seems to him that he is viewing the contents of his own head.
You’ve got themes of unity permeating through the book as you explore in multiple contexts. I’m thinking of the androids, the sect, the pilgrims seeking out the last Thirteener. Do you see your main characters in their lonely states seeking to belong to something?
Yes, the androids are seeking acceptance as sentient beings, so that it becomes a human rights issue: if they’re deemed alive, they should be entitled to rights as a new form of human (since they ‘evolved’ from humans). Professor Bleak switches the argument to say that we humans are also only artificially intelligent, reactionary, and mistaking complexity for consciousness. This puts humans on par with the AI either way.
The Hidden Moon Cult was founded by a native of Earth 13, the race which dies while passing their collected memories onto the next generation until there’s a single child left. This is a huge sacrifice of the many for the one (or whole). This woman did not want to give her own identity up and so had a struggle with that. The theme of sacrifice comes up throughout the book as linked with unity or unifying.
Which main character do you mean? The astronaut or the Child? both have their share of loneliness, since both are living lives unusual to the rest of humanity. They are therefore the closest things to peers to each other than any other characters in the book. These two are not seeking belonging in the usual sense, but more like those who aspire to greatness (the astronaut) or feel greatness has been thrust on them (The Child) and thus belong to the historically great among us.
Something I particularly like about the story is the repetition – it’s as if situations repeat themselves or become shadows of themselves with each reoccurance. What is happening to the astronaut amid this repetition?
The repetition has a few ideas behind it. One is that hypnotism and trance occur with repetition, and so these repeated scenarios add to the Space Drunk feel of the book. Another is the idea of writing prose like music, with repeated motifs. Motifs in symphonies or free jazz often repeat motifs with variations or in different keys and so forth. Russian fairy tales are actually written with this rhythm. There are lots of repeated phrases, endings, and occurrences. The result feels very poetic and rhythmic.
I also like the idea that repetition is a way of thinking non-linear. With each repetition something is different, as if these are the same moment revisited, spiting into two potential choices or realities. Imagine an editor’s view of reality: If someone keeps doing the exact same thing each day then all the days in between the first and last day would be deemed redundant. So the editor-god takes them out. Time becomes transcended like a wormhole from the first day to the last. We experience such a (subjective) loss of time when we do repetitive activities. We also lose our cars when we park in the same parking lot at the same supermarket year after year. This is because the incidents of parking there have become redundant or melded into each other.
What role does the Hidden Moon Cult play in the story. Does it exist?
The last Thirteener says that everyone has a Hidden Moon inside them. This place was his subconscious, with its extreme sexual traits and its reluctance to give up its last desires. The woman who founded it, Hegemony, is a Thirteener herself and the last to give herself up to the process which ended in unity. So, it was like the Child’s last temptation or Dweller of the Threshold (as some traditions put it).
It does exist but the question is whether it is an actual physical place or an astral or ghostly illusion. I think it had aspects of both since some people, such as Miss Glare, return in the flesh.
How does a Gleamer challenge humanity?
Gleamers challenge humanity firstly by their mere existence: it forces a clear definition of sentience, and there isn’t one. Professor Bleak  claims that they are merely very complex programs with a huge number of potential programed responses, and this tricks us into thinking them sentient. The problem is that this may well describe us humans. We live by programmed or learned responses to similar situations. So, if we deem them machines, we could deem ourselves that too, and if we deem them sentient then they have grounds for human rights. The humans do not want to grant this in the book.
The Gleamers themselves consider themselves the next evolutionary step from humans, and therefore our superiors.
Tell me about The Veil – what is it and how do people get their hands on it?
The Veil is a magazine (or zine, I’m not sure on the difference) that I produce and edit. It’s devoted to occultism, mysticism, obscure science, philosophy, Freemasony, comparative religion, and things like that. It’s designed by Nico Liengme and is about to release its fifth issue. We do small print runs of about 150 copies, and distribute it online too.
For a hard copy email or go to Polyester books in Melbourne, and various cafes around Darwin.
What are you working on these days?
Right now I’m working more in theatre. We’re trying to tour my first play Darwin Vs. Matilda to venues around the country, and my second play Jehovah’s One Table Restaurant is going into production. As I said, issue 5 of The Veil is coming soon as well, and so is a book of Swagman’s fables.
Thanks Levin!!!

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Coming soon: two books by JJ Deceglie

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Corey Wakeling’s forward slash launch speech

Last Thursday forward slash was released into the stratosphere via Melbourne’s 2012 Poetry Symposium – The Political Imagination: Contemporary Postcolonial and Diasporic Poetries. Corey Wakeling’s kindness permanently abounds and he launched this li’l ole journal for us. You can read Corey’s speech below.

We’ll be podcasting the launch as well, which means you’ll be able to listen to Corey’s speech, as well as Michael Farrell and Duncan Hose reading.

Online purchase of forward slash will be available soon. Collected Works also has copies if you’re in Melbourne.

forward slash launch speech by Corey Wakeling

The Queen, Elizabeth II, is glad this journal exists. It is sign after all that the Commonwealth is still wretchedly in effect, the colonies clearly and seamlessly in dialogue across the seemingly impassable thousands of kilometres to the North, and the North to South. “A collage of Australian and Canadian innovation” write editors Jeremy Balius and Matt Hall. It is not by accident that we then release this journal to the post-colonial subject in situ – we are after all in attendance at a conference entitled ‘The Postcolonial Imagination’. Indeed its troubles, its criminality, and its critical heritage, are herein displayed, written by seven of the finest Commonwealth poets. The British Empire has retracted, the imperial gesture disseminated, now rather laid like new broadband into the loam and concrete beneath our feet, working less like a brain now than a lymphatic system attacking satellite infidelities and acute threats.

Little does the Queen know, in all of her enamour of the exuberance and colonial specificity of the curatorship of this journal that the agents chosen by Balius and Hall happened to be double, arch and diabolical mutineers, fiends, cultural extortionists, saboteurs. In postcolonial times a sophisticated poetic of dissemination, probes of hottest imagination, devisers of transformative syntax, are perhaps a great exacerbator of the retraction of empire, methods to instantiate transcultural cross-germination, and better acknowledge the bequest of diasporic, processual traditions of nomadicism and expression under duress that have for so long sustained the fixities of national identity like that of the subject of the Commonwealth.

The postcolonial subject is neither severed from national technologies to which it is under duress, nor is it passive to identity politics in formation, in deviation, in conflict or contradiction to the national. It is compositely colonial and postcolonial. Why can’t you speak about the body and technology exhort Louis Armand, Michael Farrell, Duncan Hose, Kemeny Babineau, a.rawlings, Jay Millar, Astrid Lorange. Why can’t you speak about the body in technology beg Louis Armand, Michael Farrell, Duncan Hose, Kemeny Babineau, a.rawlings, Jay Millar, Astrid Lorange. Why can’t you speak about technology in the body, technology of the body retort Louis Armand, Michael Farrell, Duncan Hose, Kemeny Babineau, a.rawlings, Jay Millar, Astrid Lorange.

As the hypothetical philosophers of language, or the language philosophers of hypothesis, or the hypothetical linguists of philosophy, these poets in particular have an active intervention into landscape and language’s prosthetic eye on it with consequence. Louis Armand writes in ‘“EROSION MIMICS A FRAME”’:  “the sentence “is” a body…” The reciprocity between language and landscape – at once elaboration of the teasing proximity language brings to ambulations and memories of landscape and yet too elaborating the rejection of words by the landscape – produce, frankly, devastating, cosmic, and singular hallucinations in the work of these poets collected. Hallucinations because they are ecstatic, and because they see what they are thinking, and that after all is impossible. These are reliable maps in another sense, however, reliable topographies of place thought, thought indicating its setting as much by its flight and repulsion as its disseminations as probing retina.

Each poet collected appears fascinated with this limina, and if they’re anxious, then they’re performatively so. Just see a.rawlings spreadsheet poem ‘THE GREAT CANADIAN’, with its page saturating refrain: “I will not ruin the environment”. More on that cascade later. For each poet it is not remiss to surmise each poet landlubber of a psychic art turns to the criminality of the topographer-fencer, and makes a riot of his or her former small time. This is big time crime, but for that hardly less true because the landscape is making them do these terrible things. This is Whitman in the woods, but also Whitman in black.

M. Farrell: “George Clooney is walking across the A landscape. He’s what makes it.” ‘INVISIBLE AMERICA’ (10)

D. Hose: “When   did     Tasmania   get    so / German               anyway / Here we are in German Tasmania / Appeldorff,        Little Alp,      hills are randy / w/ tearful horses, / Hohenzollern barns engineer the air to chasten / horny grasses \” ‘LIQUOR’S NOT LIKE THAT’ (3)

a.rawlings: “Descend from a cliff into a forest near a field by a shore on a river that empties into a language.” ‘THE GREAT CANADIAN INJURIES’ (16)

L. Armand: “… crude ore / dark floe from the un/conscious / belies geo-strata not yet raised to perception – / intestinal montage of / red black / fossilised in its veins’ metastasis / becoming sub-specie …” ‘“EROSION MIMICS A FRAME”’(23)

K. Babineau: “Marri Douglas Canoe / rip A Ford Near Moscow // A Delusion of Pat Anderson, 1915-”

A. Lorange: “needle along the edge of a river such a / slab of science emptying itself on the banks” ‘GRUBS’ (36)

And J. Millar’s hallucination, or the truth of the matter: “Foot after foot atmospheric / melodies repair each one / higher than the next, a trail // of geographic outcroppings / & visual stimuli that oppose / news. What sits there remains – / millennial drones of rock // & shoreline collections of / mosquito bites, a pure pure / Canadian tropism entered into / the record books as whims.” ‘GATHERED FOR THE PURPOSE’ (39)

It seems Canadians and Australians have been dreaming the similar dreams, or at least tangoing together under shroud of oneirodynia, the disturbed sleep. Yes, these poems, all of them, are of disturbed sleep – Hose’s post-coital, pre-coital; Farrell at his most O’Hara-esque incubus-like swimming through the dreams of others, for Farrell it is Richard Roxburgh and baby boomers dreaming Hendrix; rawlings ‘The Great Canadian’ a litanical nightmare of the suffocating demands of the intra-festal obsessive compulsive declamation “I will not ruin the environment” turning at once from denial, remorse, fecklessness, pomposity, demand, imprimatur, injunction, thesis, antithesis, synthesis, transition, in the accretion of its stupid inexorability. Indeed, rawlings is the most self-interrogative, and her transformation from ‘SUBJECT’ to wolves in ‘WOLVES’ ENEMIES’, the wolves supplanting the once pathological reiterations of the ‘I’ and words’ clamour on the ‘I’s superficies, this roaming collective of wolf in plural, wolf mapping territory, wolf territorially pissing, the preposition “to” ever turned to verb-like to end on as salve to perimeters of ‘I’, its borders and fields. rawlings explains:

Shown urine from wolf on the to

the wolf or of wolves run.


But aren’t these poets big personalities too, not just big wolves? I mean, aren’t these poems big architectures? I mean aren’t these poets big ‘I’s? I mean, aren’t these poets big programmes? I mean, aren’t these poems catastrophic erosion, hangovers, lusty pinions, mouthpieces, fears, ruins? Perhaps it isn’t size at all, perhaps sprawl instead, contagiousness! Listen to Matt Hall and Jeremy Balius speak and it’s the maximalism fusillade, which might be better considered part of our poetics. This maximalist turn is delightful in forward slash, performed with dexterity and wit.

Condensation however is certainly not left to the periphery, what Ezra Pound did to the Homeric verse, what Charles Olson did to Ezra Pound doing the Homeric verse, what Duncan Hose did to what Charles Olson did to what Ezra Pound did to the Homeric verse, is part of this weird Commonwealth journal: the turbid juices of something other than style is certainly being condensed here. What Stephane Mallarme did to syntax, what Christopher Brennan did to what Stephane Mallarme did to syntax, what Michael Dransfield did to what Christopher Brennan did to what Stephane Mallarme did to syntax, what Michael Farrell does to what Michael Dransfield did to what Christopher Brennan did to what Stephane Mallarme did to syntax, is demonstrated here as part of the syntax elaboration in contemporary poetics, questions of syntactic transfiguration, interrogation, extenuation – this is entirely traditional and rabidly deterritorialising (what Farrell might call un-settling).Precision, the diamond tip of the probe: this certainly is the horizon here in the pages of an undeniably perky journal.

Jay Millar is the most cautious, and that is why he appears the most serene and delicately pensive. Duncan Hose’s agents are bleeding, goosing the temple bell; and he has had his “cup of the coward’s bouillon”. Faire du skeptique, to the sceptical, he writes: “I keep finding pearls”. Has a geologist ever found so much movement in the earth, and yet simultaneously been as conscious of the uncertainty principle, as Louis Armand? His work does not demystify the processes of geological formation nor the body’s reliance on them, rather his findings are drawn up by the ghosts of illegibility and the mirages of articulate palimpsests. Armand is the most foreshadowing of his prosthetic I/eye, Astrid Lorange the least: she is the eyeball disturbed and unsocketed, roaming wildly pontificating rather on the ear. She says:

private celebrations

of speaking (not at all like fasting)

with diagrams

full-bodied and fruit

thud missiles

rattling into the ear

making each

the first available name                                               (34-5)

And it is this, the “first available name” that Kemeny Babineau versifies and sends rustling through the capitals, proper nouns, of history as towns and towns as historical human beings, “Saul, ‘The stars are glittering in the sky’ / 1818 ‘O! Come / in the Orilia Woods // Mair Tecumseh / Lanigan Threnody / Isabella The Helot” (27). Yes the locale is but a cut-up of old Canada, and yet my boots are wet and muddy, and somehow Flanders Field got on them, John McCrae’s old war threne somewhere within “The Pomegranate Mouths / Drunk on Crutches”. Unbelievable!

I would like to propose to launch forward slash, but then to me it appears it has launched itself, perhaps one of the most exciting new poetry journals since Vlak.

Instead, may it live long.


Filed under Australia, Black Rider Press, Poetry, Published, Spoken Word

forward slash launch in Melbourne

forward slash will be launched by Corey Wakeling and will feature readings by contributors Michael Farrell and Duncan Hose. The launch is part of The Poetry Symposium 2012, this year titled The Political Imagination: Contemporary Postcolonial and Diasporic Poetries.

The Political Imagination is a symposium that brings together some of Australia’s leading poets and poetry scholars to investigate the state of contemporary postcolonial and diasporic poetries. It aims to explore the contentious, at times controversial, issues surrounding the production and discussion of poetry and poetics in work that engages with the politics of the postcolonial, the transnational and the diasporic.

Edited by Matthew Hall and Jeremy Balius, the first edition features:

Duncan Hose
Michael Farrell
Louis Armand
Kemeny Babineau
Astrid Lorange
Jay MillAr

“In showcasing seven of the most exciting writers either side of the Pacific, this collection demonstrates just how strikingly resonant Australian and Canadian contemporary poetries are in challenging pretexts of language, nation, and the interior.  Here we have undressed affect, meddlesome crossings of intimate and ideological landscapes, and ebullient spurs against aesthetic and political complacency.  It is, in short, redactive iridescence.” – Ann Vickery

Volumes of forward slash will be available for purchase at the event for 10 smackers.

Thanks to Ann, Ali, Lyn and Corey for making this happen.

When: 4:30pm, Thursday 12 April 2012
Where: Deakin Prime, Level 3, 550 Bourke Street, Melbourne

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Black Rider says thanks for the 25,000 listens

After putting out the recently brilliant BRP podcast 05, a live recording of Marcus Roloff’s German spoken word with the swooningly bright-eyed sounds played by Christian Löffler, and while I was setting up to record Corey Wakeling all lofi over the phone for BRP podcast 06, a quick tally showed:

The Sound of the Black Rider has had over 25,000 downloads and streams. (It’s closer to 27,000 but I rounded down.)

Ok, so, it’s irrelevant that compared with internet standards and stories of trillions of views on YouTube, this is a miniscule amount. We’re talking about lofi recordings of authors and poets reading their work. It’s poetry and fiction, you guys!

Also, we’re a micropress from Fremantle, Western Australia – publishing like thieves in the night. 25,000? 25,000!

For that, I say thank you.

To all of you who are reading, streaming, downloading, buying, and telling your friends about the Black Rider, thank you.

You’re the sweethearts who keep this all going. Thank you for having Black Rider in your life. Your kindness abounds.

The Sound of the Black Rider is made up of the Black Rider podcast, the Lyrics audio book series, the Garage Sessions and poets and authors reading their work at and PoetrySpeaks.

Look homeward, angels!

The Black Rider

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Black Rider Lines: Corey Wakeling on Royal Jelly by Matthew Hall

This is a tremendous thing. Fecund and overwhelmingly tactile, wounds and absences precede sensibility, and yet within it drives thought busy with topographies and feeling-its-way-through. No, even feeling-its-way-through would be wrong, more like drawn along, compelled by a series of shocks and moments of uncovering. This poetry excites me because it occupies a space between the cryptic lexicon of the Cambridge School and Aussies like Louis Armand and John Kinsella, and visionary poets modern and Romantic, like Walt Whitman, Alice Notley, and Samuel Taylor Coleridge.

Matthew Hall in the studio reciting Royal Jelly sounds like a sage engaged in public oratory, though the sounds of an inner echo tells us he is alone. It is an excellent recital, and for those wanting to hear Hall possessed by his text they will not be disappointed. But it is not the curses, the hymns of Royal Jelly as I heard them. Its voice for me mutters, wonders, allays, albeit in fear, declaims uncertainly, and atrophies. I hear a very tentative voice, a ghost voice. But, it is always meaningful to have the poet read in a manner utterly different from what one expects, producing a broader dialectic incited by every reading, a dialectic based on the question: is the poem speaking through the poet?

An exciting thing!

– Corey Wakeling, 2011

Royal Jelly

You can buy Royal Jelly as an ebook from Black Rider Press.

You download Royal Jelly as an audio book (for free or pay what you want)  from The Sound of the Black Rider.

Poem extracts from Royal Jelly were featured on the Black Rider Podcast 03.

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Scott-Patrick Mitchell’s . the tricking post . to publish soon

Black Rider Press is proud to announce the release of .the tricking post ., an e-chapbook collection of poetry by Western Australian poet Scott-Patrick Mitchell (SPM). Featuring an introduction by tomás ford, . the tricking post . is an important new work for SPM. The ebook will publish on 1 September 2011 and will be available for purchase from the Black Rider Press website.

Scott-Patrick Mitchell won the 2009 PressPress Chapbook Award, the 2010 Perth Poetry Slam, was one of three emerging WA poets chosen to appear in Fremantle Press’ inaugural poetry collection New Poets 1, and is Fremantle Press’ editor for the 2011 release Fremantle Poets 3: Performance Poets. He edits the monthly literary ‘zine “ C O T T O N M O U T H “ and is a fashion stylist for OUTinPerth. SPM is currently completing a PhD in Performance Poetry at the West Australian Academy of Performing Arts (WAAPA).

Here’s what they’re saying:

“SPM’s . the tricking post . outrages the private space of the love-letter by making it street art, and street art as poetry of the page. Why outrage? Try out rage. It is a rage of address. To whom does one address one’s desire, one’s need, one’s love? He reinvests the love-letter, making the message a connection that ravages textuality and renders it intimate, sassy, and a truly direct line of address. The ‘recipient’ becomes active by implication. Though he has moments that bring to mind Gertrude Stein’s Lifting Belly with its ‘fierce and tender’ arousal of language and passion, more often SPM deploys contrary words that seem to protest too much, that struggle with the depth of feeling that possibly lost love induces. At a time when language travels in so many ways, adapting and reconfiguring with different modes of communication, SPM catches the zeitgeist crisply and ironically. The essentials remain eternally the same, though, and that’s the key to this poem of sex that ‘fell into love’, of the letter tricking its format and becoming poetry, of the suitor becoming the subject as much as his lover, by the inevitable twisting of words dealing with the self vis-à-vis another, and with the simultaneously collapsing and expanding ‘history’ of artistic expression. This is new ahead of the new.” – John Kinsella

This story is about words, the poet tells us – and they are performative words, words that make things happen in a one-sided epistolary post-romance. Mitchell’s letter-poems are cathartic, musical, humorous, alternating curse with echoes of lost and remembered tenderness. Endlessly lively, they are like new riffs on the tradition of invective poetry. But for all their associative energy, the poems are less improvised than sharply crafted, canny, as tricky as their title suggests. Though they are more than merely personal, their glinting surfaces both conceal and betray deep feeling.” – Tracy Ryan

“This is a warning: scott-patrick mitchell’s ‘the tricking post’ shows us directions the letter can take. the letters within rupture the limitations of the eye and the strictures of the poetic form. whether it be the voice of the trickster, the voice of shakespeare, poe or god, the words that spill forth are infinitely figurative. his dancing syllables resound far beyond the pages that contain them.” – Graham Nunn

“ . the tricking post . is exhilarating, agile and a bit crazy. This is poetry as risk rather than artifact, where invocations dance the page as typography intertwines and meanings double on themselves. Its obsessive narrative shows Scott-Patrick Mitchell can be smart as all-get-out with disruptive syntax and experimental punctuation, while grabbing a reader and making them care about language in lines. This is what comes out of the hidden into the scary light of performance as Mitchell mixes the visceral, the abstract, the cute and the colloquial in an intense brew of broken desires.” – Jill Jones

“if d.a. levy were alive he’d publish scott-patrick mitchell” – Bob Holman

“Scott-Patrick Mitchell’s poetry takes me back to 1986 in New York City when street art was anonymous, misunderstood, questioned and most importantly discussed. The wonder for a 16 year old was part of the charm, an extension of the work itself all on the walls in a city that had you fluctuating between amazement and terror. It was a time when art in the street wasn’t ‘street art’, it was a part of life. His text is like this for me, not only because it was first left to be read in the street, like seeing one of Jenny Holzers “Inflammatory Essays” posted on the side of a phone box, but in how it came together as a story, a series finally collected and curated. What’s always been done is easy to repeat, but making it relevant to you and making it your own is not. Scott-Patrick took me back to an exciting time, to a point expediential growth and now I have another person living in my city to be proud of.” – Stormie Mills

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Filed under Australia, Black Rider Press, Poetry, Published

Distant Songs by Matthew Hall

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Filed under Australia, Poetry, Published