Brain Drift

I LOVE the brain drift of Christmas/New Year where all there is are leftovers, novels waiting in a giddy pile and a languid summer heat ideal for napping and jigsaws. That has ended a little earlier than usual for me as I am working across January but I’m trying not to let the feeling disappear entirely. I’m in the middle of reading Leaping into Waterfalls: The Enigmatic Gillian Mears after some gentle New York stories by Lily Brett, a favourite author, as well as Piranesi by Susannah Clarke which was winner of the 2021 Women’s Prize for Fiction. I’ve also enjoyed dipping into some fabulous poetry over the festive season, including How to Fly (In Ten Thousand Easy Lessons) by Barbara Kingsolver, Jill Jones’ Wild Curious Air, Cactus by Phillip Hall, Haphazardly in the Starless Night by Hugh McMillan and a number of anthologies that arrived in a whooooosh in late 2021, and in which I am excited to have poems!

These include ‘Afterlife’ and ‘The Fall’ in Poetry for the Planet: An Anthology of Imagined Futures (Litoria Press); ‘The Saddest Things are the Most Beautiful’ in The Newcastle Poetry Prize Anthology and ‘Searching for Goldfish’ in Grieve (both Hunter Writers Centre); ‘Pointillism Workshop at Gootchie, 1976’ in Not Very Quiet; The Anthology (Recent Work Press); and ‘beyond the dark line of trees’ in The Incompleteness Book II: Writing Back and Thinking Forward (Recent Work Press). My grateful thanks to the editors of all these exceptional publications (Julia Kaylock, Denise O’Hagan, Moya Pacey, Sandra Renew, Julia Prendergast, Eileen Herbert-Goodall and Jen Webb) — I feel honoured to be published in among so much writing talent from near and far. Thanks also to poetry editor of Social Alternatives’ special poetry issue ‘Poetry to the Rescue‘, Aidan Coleman who kindly published ‘The Bees’ and ‘Nefertiti and the Nile’. I had a poem — ‘Speed Dating’ in the December issue of The Poets’ Republic (based in Scotland), ‘Oracle’ Published in Plumwood Mountain, and four poems included in Live Encounters Poetry and Writing volume 2 in December 2021 — thanks to Mark Ulyseas for his wonderful curation of this publication.

It was a complete pleasure to launch my good friend Victoria Bladen’s exhibition of original artworks — Zephyr— at the Latrobe Artspace in Paddington on 19 November. Great to be out mask free! Congratulations Vic!

My warmest wishes for 2022! One of my resolutions is to blog more often! XXX

Poetry Spring Clean

The wild irises are in flower and the butcher birds and magpies are swooping. The air is warm and clear. It feels like the start of a new poetry season too: words in my head are infected in a good way by the lengthening days and ideas preserved over the winter are ready to hit the page. I’m trying to find small corners of days to write in between teaching, marking and keeping a close eye on two adventure-prone teenage boys and an energetic labrador. The days I write are the ones that end happiest.

Thanks so much to the editors of publications that accepted my poems since the last blog post around Easter. Firstly, Mark Ulyseas and Denise O’Hagan for the privilege of having two poems — ‘Bloom’ and ‘Navigation’ — in Live Encounters Poetry & Writing May 2021 — a special edition featuring Australian and New Zealand poets. The issue was jam-packed with stunning work from many, many poets I admire, and it was such a buzz to part of the issue. Around the same time, editor Tony Frazer at the wonderful Shearsman published two poems — ‘Backyard Anamorphosis’ and ‘Micro Chapters’. Nice to be on the pages just before Petra White, one of my favourite poets.

I found a home for ‘Green Bathroom’ in Westerly 66.1 and am grateful to editors Josephine Taylor and Daniel Juckes. There was a wonderful online launch of the issue. This nostalgic poem is about my maternal grandparents’ Lennox Street home in Maryborough where I spent so much time in as a child in the ’70s. More recently I was excited to have poems in two wonderful e-journals — StylusLit (‘Sericulture’) and Burrow (‘Shorthand’) so am very grateful to editors Rosanna Licari and Phillip & Jillian Hall. ‘Sericulture’ is a poem about exploring a childhood seemingly surrounded by silkworms, and ‘shorthand’ is a poem about the therapeutic nature of walking the suburban streets during Covid-19 challenged times — the prompt was What does mental health (good or otherwise) look like through the prism of non-human companionship? 

Since I last posted, I am fortunate to have had two positive and thoughtful reviews of my chapbook Wide River (Calanthe Press, 2020), the first by remarkable poet and energetic editor, Denise O’Hagan, in the Rochford Street Review and the second by StylusLit’s terrific reviewer, Alison Clifton. Such a gift to have my writing understood and written about with this insightfulness. My friend and fellow poet Nathan Shepherdson‘s wonderful launch speech was also published in Rochford Street Review and I thank Nathan again, and also RSR editors Mark Roberts and Linda Adair.

The Calanthe Collective ran some fantastic events throughout the winter months including an afternoon of poetry featuring David Malouf, and the launch of Vanessa Page‘s stunning new book of poems – Botanical Skin. Great to read work and spend time with poetry friends Nicki Cassimatis and Jena Woodhouse at those events. It was also wonderful to read a paper about Shakespeare’s Sonnets titled ‘Time, Death and Immortality’ at Victoria Bladen’s Shakespeare Winter School at St. John’s College at the University of Queensland on 23 June.

Rain. Sleep. Chocolate. > Poems.

Rain. Sleep. Chocolate. Family. It’s been a blissful Easter. I’ve even managed to find a couple of small windows for writing and squeezed in a bayside walk between showers. It’s good to feel the energy levels increase as the heat recedes. April is my favourite month. In fact, 2021 has exceeded expectations so far, and there have been some happy poetry peaks on the graph.

I thoroughly enjoyed being a feature poet at StAnza International Poetry Festival in March. A huge and heartfelt thanks to outgoing festival Director, Eleanor Livingstone and Programme Coordinator Annie Rutherford. It was such a buzz having my poem ‘Never Turn Your Back on the Sea’ incorporated in the Festival launch event too. There was a lot to take in at StAnza and I saw as much as I could considering the time difference. I particularly liked the daily ‘inspire’ segments and picked up some excellent ideas. There were lots of positive reviews of the festival and I congratulate all at StAnza for the positive experience.

I’ve had some poems published this year. ‘Painting the Even Air’ was included in Issue 2 of the new and thoughtful online journal, Burrow, where there was an ekphrastic theme, two poems — ‘Going Fishing’ and ‘Crossover’ — were accepted in the visually stunning Blue Bottle Journal, and I was pleased to have ‘Day of the Dead’ accepted in Not Very Quiet‘s wonderful issue themed around the concept of ‘mask’. This is a feast of incredible work by so many women poets I admire and it’s an honour to be in that list. My grateful thanks go to editors Phillip and Jillian Hall, Sean West, Moya Pacey and Sandra Renew. This week, Rochford Street Review also published — a little belatedly — the beautiful launch speech Nathan Shepherdson gave at the launch of Wide River in August last year at Under the Greenwood Tree on Tamborine Mountain. Sincere thanks to editors Linda Adair and Mark Roberts at Rochford Street Review.

It was a lot of fun reading poems two Thursdays ago at Smallroom Writers ‘Black Market Therapy’ gathering at Griffith University, Gold Coast together with colleagues, students and friends. Poet Matt Hetherington read from his new collection Kaleidoscopes (Recent Work Press, 2021) and there was amazing music — ‘gritty desert blues’ — by Bones Rivers. Really good to spend time with Sally, Stephanie, Christi and the whole Smallroom gang.

A particular highlight of 2021 has been working collaboratively with the dynamic and unstoppable Robert Campbell Henderson – photographer, printmaker and visual artist among other things! Robert responded to my poems with a triptych — a project we titled ‘Kites and Stones’. I’m looking forward so much to working on another project with Robert soon, assuming he hasn’t given up on me! This project will be bigger and I’m excited about it. Thanks Robert.

Poetry Love from Lockdown

I always relish the first few days of January when the Christmas/New Year frenzy has passed. It’s been blissful with time to catch up on sleeping and reading — in particular Vesper Flights by Helen MacDonald, Andrew O’Hagan’s Mayflies, and finally listening to People of the Book by Geraldine Brooks on Audible whenever I’m in the car. I’m also loving The Anthology of Australian Prose Poetry edited by Cassandra Atherton and Paul Hetherington and the latest (100th!) issue of takahē Magazine that has my poem ‘Brewing Tea to Reassess an Absurd World’ that connects with Charles Blackman’s painting, ‘Alice in a Boat’. It’s an honour to be included and I send thanks to editors Jeni Curtis and Gail Ingram. While the Brisbane three-day lockdown is a bit unexpected and we’d hoped for better from 2021, I’m at least grateful for a cool change in the weather and the renewed energy it gives me for writing. Voila! A blog post.

I’m about to start piecing together a 20 minute poem sequence that will be shown as part of the StAnza Poetry Festival (based in St Andrews in March). The invitation to take part was part of my prize for being Runner Up in the 2020 Wigtown Poetry prize for a poem called ‘Green Bathroom’. Like so many other people have said, the silver lining of the whole Covid-19 situation has been the joy of unexpectedly being part of international events and ‘meeting’ other poets from far away, that otherwise wouldn’t have transpired.

If this latest Brisbane lockdown isn’t extended, I’m looking forward to being guest poet at the Calanthe Collective‘s first event of the year at Centre for Regenerative Arts on Tamborine Mountain on Monday 18 January at 6:30pm, and having an overnight stay on the mountain. If you feel like a short escape to cooler climes, I’d highly recommend the experience, and would love to have you there, but due to Covid, bookings are necessary. Here’s the flyer:

A highlight of late 2020 was taking part in the AAWT Conference —Rising Tides —held both face-to-face and online at Griffith University Gold Coast. Congrats to my colleagues who organised the conference, especially Stephanie Green. A number of papers blew my mind, particularly the keynote by Julienne van Loon about creative writing practice and nourishment — the world as food, eating as living, working and living closer to vulnerability, immersion in the sensory world. It has stayed with me. I gave a paper called ‘A Rising Tide of Video Poetry’ where I explored the work of three contemporary poets I admire: Anna Jacobson, Matt Hetherington and Chloe Callistemon. It was also such a buzz to read poems at Smallroom during the conference with a number of my colleagues and students as well as special guests.

Since I last blogged back in October, I’ve had a few things published including two poems —’Crop’ and ‘Walking to Angourie’ — in Meridian: the APWT/Drunken Boat Anthology of New Writing. It was a brilliant experience to read at the launch of this book with writers from the Asia Pacific region but also elsewhere in the world. Huge thanks to the three fab editors Sally Breen, Ravi Shankar and Tim Tomlinson. ‘La Casa Azul’ appeared in the Ekphrastic Review with a beautiful video about Frida Kahlo’s life and garden, ‘the Moirai’ was included in Backstory Journal, and ‘Over-dreaming’ in Other Terrain Journal. My sincere thanks to the editors of these publications.

For now, it’s back to the peace of staring out my french door to the rain bouncing off the red brick courtyard, a cup of tea and some scribbling in a notebook as we sit this lockdown out. Take care wherever you are.

Wide River, Wolf Moon & Wigtown

I’m just back from a few days at Tugun/Currumbin with my boys so there were many wonderful walks to Elephant Rock. It’s a place that ties past and present together for me like nowhere else. We had some overcast days though, so there was plenty of opportunity to write and I sat up late with an almost full moon over the surf each night. Perfect writing conditions.

The poetry stars seem to have aligned over recent weeks! Good things do seem to happen in threes … it was a complete surprise to receive news about making the Wigtown Prize shortlist for a poem called ‘Green Bathroom’—the announcement about winners is at 4:30am this coming Monday morning (Australian time) and I’ll be up early for the online prize giving event. Fingers crossed!

It was also an honour to be shortlisted for the Arts Queensland Thomas Shapcott Poetry Prize for my unpublished manuscript Wolf Moon at the end of July, and in amazing company. I’m looking forward to reading the winning entry when it comes out next year in book form with UQP. Congratulations to Gavin Yuan Gao for At the Altar of Touch.

A BIG thanks to everyone who shared the launch of Wide River with me on 16 August at Tamborine Mountain—writing friends, work colleagues, neighbours, dearest school friends who made enormous efforts to be there and poetry loving and supportive members of the Tamborine Mountain community. Grateful thanks to Jock Macleod, Janis Bailey and all at Calanthe Press, my friend and outstanding poet Nathan Shepherdson for his very beautiful sentiments as he launched the book and to Janene Gardner at Under the Greenwood Tree Books and Art for hosting the event. It was a very welcome 24 hours of unwinding in the late winter sunshine, breathing in the mountain air and enjoying the generous hospitality at Amore B&B. Such a memorable time. If you would like a copy of the book, you can contact the bookshop or message me as I have a stash of copies.

Since I last posted I’ve had poems published in StylusLit, the Grieve Anthology, Antipodes, The Poets’ Republic and ‘Step Outside the Frame’, a special September issue of the Bengaluru Review. I also read ‘Survey’ as part of Queensland Poetry Festival’s (QPF) Panacea Poets series. Sincere thanks to editors Rosana Licari, Paul Kane, Neil Young/Hugh McMillan, Tuhin Bhowal, Sally Breen, to Karen Crofts, Director of the Hunter Writers Centre and to Zenobia Frost at QPF.

While it’s always a thrill to see poems in print, I’m really just grateful for the calm that writing poetry brings me when so much seems to be unraveling and times are complicated. It makes all the difference to make creative marks.


Are the birds louder?
Or shaking off human noise?
On my city lawn, a quintet
of galahs have gathered at dawn
to peck at dandelion.
As we remain imprisoned
behind doors and glass
cautiously animals are exploring,
reclaiming, pushing
back from corners. Sea lions
swagger in Argentinian ports and
raccoons stroll through Central Park.
In India monkeys swarm the streets,
picket the President’s palace.
Whales are steaming into
Mediterranean shipping lanes.
Jellyfish bask in the reflections
of Venetian buildings and bridges.
Ying Ying and Le Le, the giant pandas
in Hong Kong, have finally
found the peace and quiet to mate.
From Lima to the Bosporus
the skies and parks and beaches
throng with beasts and birds.
The days are closing in.
It feels darker in here,

It was a lot of fun to be part of Hugh McMillan’s Pestilence Poems Project this week. I love the way this largely difficult time has allowed creative people to initiate significant projects, come together and share their thoughts — both as a way of expressing how this COVID-19 time feels, and as a time capsule for the future. Here is my reading of ‘Wolf Moon’ recently published in The Blue Nib.

Dreaming of Yellow

There’s been a rising tide of poetry during these strange COVID-19 days of living a half-life. As we slowly re-emerge from home isolation, I keep returning to Anne Sexton‘s poem ‘Yellow.’ It’s my poetry equivalent to musical earworm. And it looks beautiful alongside Brett Whitely’s ‘Still Life with Banana’ don’t you think?

There have been some poetry blessings lately. A huge thanks to Denise O’Hagan for profiling four of my poems in The Blue Nib in April. I’m looking forward to receiving a hard copy in the post soon! Such a depth and wide geographic representation. I was also grateful to have a poem in Not Very Quiet – not exactly a theme, this time, but female poets responding to a new year and a new decade. Little did we know when submitting quite what 2020 would turn out to be. Thank you so much to editors Moya Pacey and Sandra Renew as well as producer Tikka Wilson. It was uplifting to hear all those strong female voices in the recordings from poets that made this edition unique. At the end of March, I also had three poems in The Glasgow Review of Books alongside Georgi Gill, Colin Bancroft and Shara McCallum– warmest thanks to poetry editor Samuel Tongue.

Some days I feel compelled to write poems about how I’m feeling, and as a record of things at this disjointed time. Some of them are quite surreal. Other days words completely refuse to materialise. This one is about family really — I’m missing my mother who is three hours north but there have been lots of phone calls, and a time will come soon when life will be yellow again.


Prison Island Poem

I was lucky to be able to go with my younger son and his class on a school excursion to St Helena Island in Moreton Bay in 2018. St Helena was a high security prison from May 1867 until the 1920s, and it’s a fascinating place to wander around and immerse yourself in history. As we were standing at the beautiful (in a bittersweet way) little graveyard on the island — many of the graves those of children — a wallaby stared up at us from among the mangroves on the damp stretch of nearby beach and the expression on that wallaby’s face was front of mind as I later sat down to write a poem about our day on the island.

The experience brought back vivid memories of my first visit there on a sketching trip as a 16 year old — an uplifting day spent drawing the ruins in dazzling sun. It was more overcast on the later visit: the ghosts felt closer. My thanks to poetry editor of Hecate, Jena Woodhouse for including two of my poems in the latest issue, one of them being Night on Prison Island, and to journal editor Carole Ferrier.


Poetry in Nooks and Crannies

It’s been a frenetic six months of teaching at GU Gold Coast and, more recently, at USC’s Sippy Downs campus but I’ve been squeezing poetry into nooks and crannies along the way which helps keep the blood pressure down!  I’ve particularly enjoyed Mondays with a group of wonderful and talented writers in my Global Fiction class — extraordinary conversations about the writing process, and lots of great reading recommendations!! I just finished Lanny by Max Porter, for example, and enjoyed his experiment with not only different character perspectives but the spray of the words across the page – “a joyously stirred cauldron of words” as one reviewer called it. During the last week of blissful grey days after a barrage of heat, curled up in my favourite chair, I also read Patrick Hartigan’s Offcuts and my friend and colleague Stephanie Green’s new book of prose poems titled Breathing in Stormy Seasons (Recent Work Press). This was intermixed with scribbling a couple of my own poems in longhand – one about memories of rain as a way of recalling personal histories and distant sensations, and another about the distress of the recent fires at Binna Burra and elsewhere that affected a number of people I know well, and was so terribly sad for all of us who love that place.


Thanks to curator of Bimblebox 153 Birds Jill Sampson for inviting me to read my poem ‘Stitched’ — for the Grey-fronted Honeyeater  — at a recent reading and exhibition at Griffith University’s Southbank Campus. Here is my poem and the beautiful print that it accompanies in the exhibition:


for the Grey-fronted Honeyeater

Holes are appearing.

Dropped stitches.

We can feel it.


We’re cast here,

knitted into the mallee,

our colonies

in rhythm

with the spiderweb,

wattle, spinifex,

the last dusk light of the plains

always fires our yellow feathers:

we’ve kept faith with the earth,

needles clicking together,



On still nights

we fear for the land,

that the bargain

will unravel


though the sun,

endless ball of hope,

sends out its skeins

and, for now,

the nectar is still sweet.


I’m happy to have a poem – ‘Veriditas’ – in the second volume of the Heroine’s anthology (Neo-Perennial Press, 2019) so many thanks to editors Sarah Nicholson and Caitlin White. I’m enjoying the work of the other contributors. Otherwise, I’ve recently had two poems included in the Grieve anthology vol 7 (Hunter Writers Centre) and a poem called ‘Brontosaurus Backlash’ included in a book of poetry for children called Dragons of the Prime, edited by Richard O’Brien (The Emma Press, 2019). The editors of Cicerone Journal kindly published two poems — ‘Loading Zone’ and ‘Camera Obscura’ — I really like the look and feel of the journal. Thanks to editor Lorette C. Luzajic for including two poems in the Ekphrastic Review – one about artist Georgia O’Keeffe and her Ghost Ranch; the other about a place that doesn’t really exist anymore except in memory – the Glenkiln Sculpture Park in SW Scotland.

Another ekphrastic poem titled ‘Afterlife’ and in response to Jeffrey Smart’s 1992 painting ‘The Oil Drums’ tied for first place (with Clare Coleman and Damen O’Brien) in the recent Queensland Poetry Festival’s Philip Bacon Ekphrasis Prize, and was later published in Verity La. Unexpected and exciting! Thanks to editor Michele Seminara who I had fun catching up with at the festival. I enjoyed the parts of the festival I was able to attend, especially the launch of Anna Jacobson’s beautiful book of poems Amnesia Findings (UQP, 2019) and listening to Judith Beveridge’s poems from Sun Music: New and Selected Poems, including ‘As Wasps Fly Upwards’.

In other news – not necessarily poetry related – Hay-on-Wye Book Town founder Richard Booth sadly died at 80 last month and I wrote an essay about him for the London Magazine – many thanks to editor Jack Solloway — and I was also quoted in Booth’s obituary in the New York Times. Quite a moment! Vale Richard Booth. You made a huge contribution to the ongoing worship of books in the Digital Age.

Poetry under a March Moon

2019 has, so far, been all work, no play poetry.  Simply not enough hours in each day to write the way I’d like to. Sighhhhhhhhhh.  Still, there has been some movement out ‘there’ in the poetry world … I’m pleased to have a poem — ‘Iris’ — coming out in the next issue of Antipodes, ‘Channelling a wabi sabi world view, for you’ coming out in Meniscus, and have a poem called ‘One Doll Less’ in Issue 4 of the stunning Not Very Quiet addressing the theme of ‘performing gender’. It recalls a vivid memory from childhood.  Thanks to Sandra Renew, Moya Pacey and K.A Nelson, the editors of this issue, and I’m sure, like me, you’ll enjoy reading thought-provoking poems by the other contributors.

It seems to be the season for anthologies — a poem from a few years back  — Mid Life Crisis — was selected for Forty Voices Strong: An Anthology of Contemporary Scottish Poetry, published by the University of Wisconsin-Whitewater, and edited by Patrick Moran. While I no longer live in Scotland (and haven’t for quite a while!) I publish there when I can, and it’s an honour to be represented in this selection of poems. I continue to send poems to Scottish magazines (my favourite is The Poets’ Republic) and the ongoing Scottish poetry friendships mean a lot.


I’m also very happy to have a poem coming out in a new anthology from the Frogmore Press. This poem is called ‘Blue Door’ and the anthology is Pale Fire: New Writings on the Moon, commemorating the 50th anniversary of the first manned (sic!) moon landing. The anthology is edited by Alexandra Loske, also an art historian, who has researched the art, science and culture of the moon in a previous publication (with astronomer Robert Massey) and has another forthcoming publication titled Colour: A Visual History which I can’t wait to get my hands on.

Last night, I read poems at Smallroom — Griffith University Gold Coast’s creative writing and performance meet. The theme really resonated with me — dream/reality. I was one of two guest readers, and it was a pleasure to share the guest spot with Rachel S. Morgan – award winning Australian screen writer and creative writer who read this fantastic blend of sci fi and memoir. Loved it! It was huge fun to be in the thick of the vibrant writing community I work in and among familiar faces — many of the open mic student readings were excellent. Thanks for the invitation to read, Sally Breen.



One of the poems I read was ‘If I Hadn’t’, which was first published in my chapbook Milky Way of Words:

If I Hadn’t

If I hadn’t worked in a bookshop

I wouldn’t have been wearing

the Jack Kerouac shirt

at the hotel tennis courts

and the man in dark glasses

wouldn’t have asked me a question

that led to a love affair

where I became suspicious

of the beauty of camellias

and learnt that there would be

no reward for learning to cook moussaka

but that pain grows poems

and gold doesn’t float.

I’ve sometimes wished since

that I’d worked in a petrol station.

The other major major MAJOR highlight of the last week was emceeing the launch of a retrospective exhibition of my father’s watercolour paintings — Lex Frank: A Retrospective — in my home town of Maryborough. It was a joy to be with family, close friends and artists Dad knew and spent time with. I’m tremendously proud of all he achieved. Dad’s sister Rosslyn McCarthy officially launched the exhibition — 130 works dating as far back as his teenage years.

There’s sure to be a poem somewhere in all of that!