Female names dominate the dedications and acknowledgements of Emily Stewart’s book of poems, Knocks (Vagabond Press: 2016). The closing sentence of the acknowledgements section? “girl poets everywhere: this is for you.”To read Stewart is to be in the company of women. The launches of Knocks have so far embodied this sense of a poetry girl gang. In Sydney, it was launched by Pam Brown, with readings by Elena Gomez and Holly Isemonger (August 14, 2016).
Toby Fitch, following Eddie Hopely’s reading at Sappho’s monthly "Avant Gaga" poetry night (August 9, 2016) described Hopely as “the ultimate troll.” Hopely is this and more. His work is striking for its uncompromising (and potentially self-sabotaging) interrogation of the bodies and frameworks that support/facilitate/provide space for (his) poetry. To edit, publish, stand near (or, for that matter, write on) Hopely’s work, is to risk appearing earnest, naïve and kind of establishment in comparison to his anti-institutional poetics.
Toby Fitch, following Eddie Hopely’s reading at Sappho’s monthly "Avant Gaga" poetry night (August 9, 2016) described Hopely as “the ultimate troll.”
Joe Davis’ Microvenus “infogene” encodes and inserts the superimposed letters “Y” and “I” (a primeval Germanic rune for both “female” and “life” itself) into a bacterium, converting a graphic emblem into phase values and then into a nucleotide sequence. The muse-worship that Robert Graves once located at the origins of Western verse tradition in The White Goddess can now be clinically literalized.