Contemporary Australian Poetry.

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Writ Poetry Review aims to showcase 21st century Australian poetry.
It is our intent to publish established poets alongside new and emerging poets,
in a heady mix of talent and promise. It is published out of Perth, Western Australia, and seeks first and foremost to connect the poetry community in the West.

Editors:

Alexis Lateef
Alexis is a West Australian poet, freelance editor and poetry enthusiast. She has a BA (English) from
The University of Western Australia, and has worked as a tutor and bookseller. Her poetry has appeared or will appear in Uneven Floor, Shot Glass Journal, Westerly, Page Seventeen and Australian Poetry Journal. She is currently studying librarianship, and is working on her first book of poetry. Alexis frequently reads at Voicebox.

Christine Della Vedova
Christine is a West Australian poet, avid reader and primary school teacher. She has a business degree from Curtin University, and a Graduate Certificate in ESL teaching. She was the president of the Business and Professional Women's Association of Belmont between 2013-2014. She regularly reads at the Perth Poetry Club, and was a guest at the recent Perth Poetry festival.

Writ is published quarterly, each March, June, September, and December. Submissions for Issue Two open on the 1st of October,
and remain open until December 1st.

Please send three poems and a bio to writpoetryreview@gmail.com
Poems may be previously published, although of course we would love unpublished poems.
At this stage we cannot pay contributers, but hope to do so in the future.

Calling all artists!
Writ Review is currently accepting art submissions for its second issue.
We welcome anything, from landscape, portraits to abstract work. Please send four images as an example of your work to writpoetryreview@gmail.com

Events, classes and affiliations

Perth Poetry Club http://www.perthpoetryclub.com/

Voicebox https://www.facebook.com/voicebox.fremantle

Ships in the Night https://www.facebook.com/shipsnight

OOTA writers group http://ootawriters.blogspot.com.au/

Katherine Susannah Prichard Writers' Centre http://kspf.iinet.net.au/

Peter Cowan Writers' Centre http://www.pcwc.org.au/

Fellowship of Writers Western Australia http://www.fawwa.org/

Writing WA http://www.writingwa.org/

Contact us

Please send any queries to writpoetryreview@gmail.com

We'd love to hear your feedback and suggestions for the website!
Also, if you hear of any upcoming poetry events or launches, do let us know.

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ISSUE 01

Alpha

SEPTEMBER 2014

in this issue...

3 poems by our feature poet Scott Patrick-Mitchell

Kaitlyn Plyley interview with SPM


Scott-Patrick Mitchell

feature poet

A selection of 27 poems

Poems

 Interview

feature poet -  Scott-Patrick Mitchell

Poem 1

Poem 2

Poem 3

Interview with Kaitlyn Plyley

hooking

Words more sweet, and yet more

 dangerous,

Than baits to fish.

 

William Shakespeare, Titus Andronicus (Act 4, sc. 6)

 

i.) suicide

little fish, give up this

coy coax out of wet

shrubbery & kill your

-self for me, with love

, gasping for precious

little else. i have you

hooked, & myself too

.

 

ii.) french

like sartre, nausea aches your

gills with a lust to be killed

. turn your eyes inward: it is

only existential if you cum

, so don’t orgasm when i

catch you, wetting palms &

thumb

.

 

iii.) tarpon

tough & deadly like a

drunken hard on, this

will fuck you up. i do

not bend to your rules

, but you do to mine

my fin flopping tool

.

 

iv.) limerick

there once was a book

on how best to hook

. girls read all the rules

but were made into fools

: hooking is an angler’s look

.

 

v.) sliced

yes, you shall be

, eventually

.

 

vi.) kendall kirby

kick it. get thicket

. shank length like

wicked. the oldest

style is a ken doll

derby. just don’t

forget it: a super

fine tinned beauty

fish is delish when

braised

.

 

vii.) treble

& bass

.

 

viii.) seamaster

is a white wet

seamen sea cap

-tain who dumps

a load of fin a

-cross your ocean

chest. nets drip

with catching this

all in 1ne go, holes

wide & willing like

tidal is for the filling

. say after me, my fishy

 

: yes seamaster

,cruise me with

you thuggery &

use breath play

on me so i go

glug glug glug

.

 

 

 

denizen

 

perfect each day & waif away

: i am stick thin model of self

destruction

 

. accentuate bone

 

. darkness, you are my home

: hide me in the long drone

of luminescence turned crone

 

. across

jawline, the skin is grinding

 

. untighten eyes, throw sight

wide & fly as high as the jet

black sky

 

               . i am starless: abyss

, you promised bliss but leave

me aching, a sick consumptive

mess

 

            . it is sleep that i miss

 

. when it does finally visit, i

insist: grant me a grand mal

until hunger rouses me from

hell

 

.

 

 

 

double take, taken aback

everyone knows what pelicans look like

but these are the biggest you will ever see

: wide web footed wet with wings descent

into the avon, upstream. northam winds

bring these super sized visions to congregate

& sing without notes, just hymns, billed as

cinematic gods who would gobble the world

whole with the ease of a flip back & swallow

, not missing a drop drip off their monochro

-matic magnificence, slick from the river they

follow

  . here, the fear of philosophy

is inconsequential because all big thoughts

take flight themselves to fill the sky because

these big guys are kicking back to do nothing

else but be easy on the eye & fill it with their

majesty

 

.

 

 

 

WRIT’s inaugural feature poet is Scott-Patrick Mitchell, a performance poet and writer from Perth, Western Australia. Mitchell assisted in the production of WA’s first performance poetry anthology, Fremantle Poets 3: Performance Poets (2013), and debuted his first solo show The Night Jar at the 2014 Fringe World festival. John Kinsella has said of him that he “catches the zeitgeist crisply and ironically”.
He took a moment to talk to Kaitlyn Plyley about visual influences, mashing poetry with Instagram, and the importance of developing your own grapholect.

 

KP: You are quite prolific on Instagram (@spmpoet), you blog about fashion,
and your poetry is intensely visual. What are your main aesthetic influences?

 

SPM: I’ve been dabbling in photography for over a decade now. I love the instantaneous and unpredictability of digital photography …In time this love affair melded with my work at Connections Nightclub, where [I] worked as Stage Manager. I had a troop of dancers (The Krazy Krushgroove Kids) whom I used to style and dress. The emergence of WA fashion label Material Boy lent a new direction as to how guys could attire themselves (exaggerated silhouettes of skinny legs with oversized t-shirts and jackets) and I also discovered the work of Balenciaga and Leigh Bowery. My personal taste and style became what I call ‘car-crash’: if people slow down to look at what you were wearing, you were wearing
it well.

 

My poetry is always a case of unlocking an image. I guess I take a dash of The Imagist mentality and add a healthy dose of Gertrude Stein, Allen Ginsberg and Lyn Hejinian, rupturing the image to unlock the emotional or associated content. But it always begins with an image. I guess, in short, I like
high impact visuals.

 

KP: You published a series of photo poems with the hashtag #isthisapoem? -
what were you interrogating with that work? Was your question ever answered?

 

SPM: In social media, when you use a hashtag, you can’t actually convey punctuation in the hashtag. I discovered this when I began developing the collection of love poems #doyoulikeme?and noticed that the hashtag would never highlight the question mark. So I began #isthisapoem with the intent that the poems produced would have a rhetoric that would present the reader with mash between image and text … Is what [they’re] reading a poem, or a photo?

 

Since rhetoric, by intent, can never be answered, nor has the investigation into these images. However, they have yielded a new sequence of #photopoems called Sound Abstraction, where I take images that capture the space between objects, invert the filter so they become a negative and then add text that samples the conversation that took place at the time the photograph was taken. You can check out a Sound Abstraction over at Otoliths.

 

KP: songs for the ordinary masses (2009) read like it should be sung, reveling in the deliciousness of sound. In The Rutting Season (2012), the poems mature on the page - they create shapes and we see longer lines, denser stanzas. Do you write differently for page and for performance, or is it all one process?

 

SPM: It’s all one process. Every poem should be performed, even if just to itself. I do believe, however, that if you are a performance poet, you should develop a grapholect that reflects how the poem should be read on stage. For me this appears in the way I enjamb my punctuation, or allow a full stop or comma or question mark at the end of a line to instead appear at the beginning of the next line. To me, this accentuates the importance of the breath, or the inflection of it. After all, it makes sense, in reading out loud, to have an inverted question mark appear at the beginning of the question so you know it’s a question and can allow your voice to rise to its inquiry in a more natural way.

 

KP: While you were poet-in-residence for Australian Poetry in July, you explored the ways in which poetry manifests in social media. Did you receive any comments that affected your writing process, or did you find the number of 'likes' or 'favourites' influencing what you wrote about? What was it like publishing poetry almost immediately after you'd conceptualised it?

 

SPM: Liberating. Really liberating. The sequence [for the residency] is #doyoulikeme?, a series of love poems that are gender neutral, written in an attempt to develop a mainstream expression to my own voice, a voice that by and large revels in the liberation my identity as a queer artist allows me (queer is a step left of gay and lesbian, a more gender-performative stance). And yes, other people’s opinions did influence these works. After all, I began the sequence in response to a mate’s statement that all my love poems were not very mainstream at all, so I challenged myself to embrace what I considered was a mainstream voice (my number one rule to life and art is ‘be the experiment’, which is why I so often explore so many topics and forms of expression: you can’t expect other people to effectively answer your own inquiries).

 

KP: What projects are next in the pipeline?

 

SPM: October sees me start my position as guest editor at American publishing platform
The Travelling Poet, an online blog that focuses on work that explores the notion of being moved, or travelling. We’ll be accepting artwork, fiction and photography from all areas, but specifically encourage poets aged 12-25 to submit their poems.

 

I’ve just wrapped up judging for The Red Room Company’s national youth poetry competition
The Poetry Object. This competition saw primary and secondary school kids submit 20 line poems about a favourite object. We had over 2000 submissions and I’ve just judged the shortlist of 200 entires.
It’s always a thrill working with The Red Room Company because they always develop poetry across platforms, be it an exhibition or through their app The Disappearing. It was an honour working as a judge on this competition: the future of poetry is in some very safe, strong-voiced, young hands.

 

Kaitlyn Plyley is a poet, writer and broadcaster. Her poetry appears in the 2013 Fremantle Press anthology Fremantle Poets 3: Performance Poets. This year Kaitlyn’s debut solo spoken-word show Not Much To Tell You appeared at Fringe World and the Queensland Poetry Festival. She lives in Brisbane because why not.