Michael Farrell

Michael Farrell lives off Gertrude Street in Fitzroy, Victoria, Australia. Michael Farrell off the ground alas. Michael Farrell has had no other imaginary friends but Gertrude Stein. Michael Farrell has published a ‘Long Dull Poem.’ He wishes there was a Tender Button for Cocky’s Joy. Bios are not literature.

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Three poems

sign

preludes

Two poems

the lyrical never says die

'Phosphorescence' by Graeme Miles

Two poems

Reading tenderly

The care and the courage

Poems by Michael Farrell

black mountain importer

Michael Farrell reviews Noology by Tim Gaze

Experimenting with Sugar

Recently in Jacket2

Three pebbles

Or, the minimal materialisms of late modernism

Joshua Corey

Photo by Sandro Arcais, via <a href=https://commons.wikimedia.org/wiki/File:Mugoni_beach._Three_Pebbles_of_different_colors..JPG> Wikimedia Commons</a>. — Photo by Sandro Arcais, via Wikimedia Commons.

What is a pebble? Is it an object or a thing? A weapon or a tool? Is it naïve or is it sentimental? Is it a token of the real, or a fragment of ideology? Can you do more than skip it or hurl it or mark a grave with it? What is the pebble to poetry? Of what might the poem make it speak?

February 18, 2019

Jerome Rothenberg and Ariel Resnikoff

'A Poem Beginning with Two Lines by Likht' (in English and Yiddish)

Jerome Rothenberg

[Author’s Note:“A lid vos heybt on mit tsvey shuros fun likhtn”(“A Poem Beginning with Two Lines from Likht”) is a translingual epistolary experiment and collaborative double-iteration between English and Yiddish poetic tongues. Mikhl Likht (1893–1953), our radical Yiddish modernist ancestor (New York and “Objectivist” based) calls out from the interstices of an expanded-Yiddish praxis, coaxing our poem into the the wor(l)d with two lines from his “poem-of-a-life,” Protsestiyes (Processions).

A life lived in pause

Lynley Edmeades's 'As the Verb Tenses'

Anna Smaill

Photo of Lynley Edmeades (right) by Rory Mearns.

As the Verb Tenses is interested in varieties of distance — physical, temporal, emotional. As a collection, it seems not always certain whether to embrace or to overcome these distances. There is insight to be gained in the cultivation of detachment, it suggests; but might there be something lost in moments of hesitation?