Chris Gooch
Monster Editorial: by Nathan Curnow
Artwork:
12 Panels by Chris Gooch
Essays:
On Being Sanguine: Two Years of Panic and a Response to Terror in Christchurch by Charles Olsen
A Deaf Rough Trade: Defending Poetry to ‘regular people’ by Alice Allan
Poetry, Whatsoever: Blake, Blau DuPlessis, and an Expansive Definition of the Poem by Ali Jane Smith
Translations:
A Buzz in the Retina: On Translating Luljeta Lleshanaku by Ani GJika
5 Translated Yosuke Tanaka Poems by Shane Strange, Paul Hetherington, Andrew Houwen, Yosuke Tanaka
Interviews:
‘That is some crafty bite’: Trisha Pender Interviews Melinda Bufton
‘You’re never disembodied from the action’: Dylan Frusher Interviews Judith Beveridge
Chapbooks:
6 Poems from Robin M Eames
Excerpts from Neon Daze by Amy Brown
Scholarly:
Chorography and Toute-eau in the Waters of Lower Murray Country by Camille Rouliere
Aussi / Or: Un Coup de dés and Mistranslation in the Antipodes by Toby Fitch
I’m writing this after news that W S Merwin has died. His Selected Poems still sits on my bedside table, never far away in case of a spare moment.
In these times many of us from all corners of the globe have more than one place we call home. Concepts of nationality, attachment to place, a sudden annunciation of enlightened belonging or steadfast refusal of it can be dissociative, painful and conversely full of artistic promise. 
Since Charmaine Papertalk Green’s poetry was first published in The Penguin Book of Australian Women Poets in 1986, her voice on the page has been consistent: eloquently powerful, respectfully challenging and true to her role in life as a Yamaji Nyarlu.
