Tag Archives: Zenobia frost

Tickets for Riverbend Poetry Series on sale now!

The Riverbend Books front deck has become synonymous with poetry in Brisbane over the course of the last eight years, hosting the annual Riverbend Poetry Series in collaboration with QLD Poetry Festival and QLD Writers Centre. So if you don’t want to be standing on the street, craning your neck (and ears) to get a slice of the action, check out the details below to book your ticket. These events book out notoriously early and the line-up… well, the year is off to a flyer!

Riverbend Poetry Series 1

The first event in the Riverbend Poetry Series features graveyard poet Zenobia Frost,  multi-award winner Anthony Lawrence and two very special launches – Vanessa Page launching her full length debut,  Confessional Box and the Choose Your Own Poetry Adventure amplified e-book launch.

When: Tuesday 19th February 2013, 6pm for a 6:30pm start
Where: Riverbend Books, 193 Oxford St, Bulimba
Cost: $10
Bookings are essential and can be made by calling Riverbend Books on 07 3899 8555 or via their website.


Here’s a little bit about the poets…

Vanessa-PageVanessa Page is launching her full length debut, Confessional Box. Vanessa is a Brisbane-based poet who hails from Toowoomba in Queensland. In 2011 and 2012 she was named runner-up in the Arts Queensland Thomas Shapcott Prize for an unpublished manuscript for The lost art of penning you a love note and Confessional Box. In April 2012 she launched her first micro-collection of poetry Feeding Paper Tigers through Another Lost Shark Publications.

Confessional Box is her second collection of poetry, published by Walleah Press, combining the best of Page’s two shortlisted Arts Queensland Thomas Shapcott Prize manuscripts, Confessional Box is an extended love letter to place, heart and memory.

“Vanessa Page writes with the complex simplicity of an artist like Paul Klee – her language is ‘skin, papered/over skin’. There is an arresting music to this book, worked at deep pitch, performed with great skill and a compassionate vision.” — Robert Adamson

lawrenceAnthony Lawrence has published thirteen books of poems, the most recent being The Welfare of My Enemy (Puncher & Wattmann, 2011) which was shortlisted for the Judith Wright Calanthe Award and the Age Book of the Year Awards. His books and individual poems have won many of Australia’s major poetry awards, and his work has been translated into Italian, German, Japanese and Slovenian. He lives at Casuarina, on the North Coast of NSW, and teaches Reading and Writing Poetry at Griffith University, Gold Coast.

Zenobia-FrostZenobia Frost is a Brisbane-based poet and critic with a PhD in burning the candle at both ends. In 2012 she was invited to tour with the Queensland Poetry Festival Regional Roadshow; then, in October, she spent a week at Varuna, the Writer’s House, coaxing her debut manuscript into shape. Zen edits with OffStreet Press, Cordite Poetry Review, and Voiceworks Magazine, and she enjoys long walks in graveyards, incisive verse, theatre, and tea.

CYOPA-2Choose Your Own Poetry Adventure, a co-production of QPF and if:book Australia, is a journey through the byways and the streets of the Valley. Weaving language into the physical spaces that we walk around daily, these poetic trails combine language and landmarks to showcase Fortitude Valley in a whole new light.

Choose Your Own Poetry Adventure has three poetic journeys created by three Brisbane poets: Julie Beveridge, Carmen Leigh Keates, and Chris Lynch.

Carmen Leigh Keates’ collection One Broken Knife was published in Brisbane New Voices III, 2012. Her verse novella, Second-Hand Attack Dog, was commended in the 2011 Alec Bolton Prize for an Unpublished Manuscript.

Chris Lynch’s poetry has appeared in Blackmail Press, page seventeen and Islet. He recently edited The Tangled Bank: Love, Wonder, and Evolution, an anthology of speculative fiction, poetry, and artwork about evolution.

Julie Beveridge is a poet and cultural producer. Her collection, Home is where the Heartache is (Small Change Press), was her first collection of haibun. Her follow up collection, home{sic}, was released in June 2012.


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Poetry Picks 0f 2011: Zenobia Frost

2011 has but a few hours left in its sail…. it has been the most amazing year of my life – the incredible response to the Ocean Hearted Flood Relief Fundraiser, winning The Johnno, turning 40, the birth of T.H.E. Nunn to name a few milestones – and now I am looking forward to diving headlong into 2012. But before the new year kisses us sweetly, let’s take a look at one last book from this year. And in doing so, I will leave the last word to Zenobia Frost.

Thirty Australian Poets
Edited by Felicity Plunkett
Available widely and online at Penguin Books Australia

Writing in The New Australian Poetry in 1979, Tranter described the “Generation of ’68” — a wave of “mainly young” Australian writers experimenting with and against conventional modes of poetics. What Tranter called his “half-serious theory” informed the selection process for this new collection, edited by Queensland poet Felicity Plunkett, which celebrates the diverse, vital voices of contemporary Australian poetry.

Thirty Australian Poets gives us a much richer view of national poetic voice than we’ve had access to in the past. Even in Tranter’s ’79 collection, only two female poets featured — with no Indigenous voices at all. 18 writers in Thirty Australian Poets are female. Les Murray commented in 1968 that “women are writing less well because feminism is there to absorb the energies that otherwise would have gone into literature” (see Tranter’s In Praise of Poets with PhDs ), as if (women) writers have a finite imagination. Many of the poets within these pages are also academics, critics, musicians, screenwriters and editors (along with practising any number of pursuits external to writing), disproving the myth of a writerly starvation economy once and for all. Furthermore, the 30 poets as a whole represent multicultural Australia, featuring both Indigenous writers, such as Samuel Wagan Watson, and — as David McCooey writes in his introduction — poets with “non-Anglophone backgrounds, such as Ali Alizadeh and Danijela Kambaskovic-Sawers.”

On a more personal level, Thirty Australian Poets signalled the first time in a year or more that I’d devoured a whole poetry collection in one sitting. I felt privileged to discover poets I’d never read before — Emily Ballou (whose The Plums  I return to again and again), Kate Middleton, and Simon West, for instance — alongside familiar voices. I particularly enjoyed that, rather than eschewing traditional modes (closed forms, uniform metre) entirely,  these writers more often metamorphosed them, releasing their words from the shackles of strict formalism. If this collection represents a new generation of Australian poets, they are weaving and re-weaving a tapestry of poetics as complex, strong, and infinitely re-formable as a spider’s web.


Zenobia Frost is a Brisbane-based writer and critic whose poetry has appeared in Cordite, Voiceworks, Overland, and Small Packages. Her chapbooks include The Voyage (SweetWater Press 2009) and Petrichor (2011), a self-published collaboration with Jeremy Thompson. She recently placed 3rd in the 2011 John Marsden Awards for Young Writers. She is otherwise occupied with making the perfect cup of tea.


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Just before I go…

If you are anywhere near Brisbane next Wednesday night, The Back Room at Confit Bistro is keeping the QLD Poetry Festival love flowing with a showcase of artists from the 2011 program.

The night will feature Sheish Money, Jane Sheehy and Nick Powell premiering work from their new show, Shift; Jeremy Thompson, who’s poem, First City Christmas at Grandmas was shortlisted in the recent, 2010 Overland Judith Wright Poetry Prize; and readings from three members of the QPF Committee, Jonathan Hadwen, Lee-Anne Davie and Zenobia Frost. Each will read a selection of their own poems as well as a poem from one of the international/interstate artists on the QPF Program.

Confit Bistro is located at 4/9 Doggett St, Fortitude Valley and has a sensational tapas style menu and wine list. Entry is free!

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Poetry Picks of 2010 – Zenobia Frost

Pam Schindler launched A Sky You Could Fall Into (Post Pressed) at the Queensland Poetry Festival this year. I’d been waiting for Pam’s debut collection for a long while, and it didn’t disappoint. Her poems have a quiet melody that gets under your skin, and a voice that is tender without sentimentality. Frogs, dragonflies, birds and possums are recurring characters in a book where the line between wilderness and suburban Brisbane life blurs joyously. The poet’s hand is invisible; each poem seems to spring straight from the earth.

Reading A Sky You Could Fall Into was like finding space and time to sit and breathe for a little while—something I definitely needed in the middle of a very busy year. Schindler’s language is fresh, warm and intimate. Her poems sparkle with the kind of humour that exists between old friends. Her innate sense of rhythm and ability to spin vivid images from few words are skills I aspire to.

What I loved most about the collection was its sense of place. These are Brisbane poems and Queensland poems, and are best read on the veranda whilst a storm gathers over far-off hills, with a cup of tea in hand and a possum nibbling at an apple slice on the balustrade.

(Read a sample of Pam’s work at foam:e)


 Zenobia Frost is a poetic adventurer, hat fetishist and protector of apostrophes. In her writing, Zenobia aims to highlight those common enchantments that are often overlooked. Thus, her debut collection, The Voyage is a whimsical journey on (generally) calm seas with a crew of curious creatures and a compass that points to whichever shore offers the best cup of tea. Zenobia’s poems have found homes in such Australian journals as Going Down Swinging, Small Packages, Stylus, Mascara and Voiceworks. She coordinates The Ruby Fizz Society for Superior People, a light-hearted excuse for performance arts and baked goods.


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Another Lost Shark in the news

My head is well and truly swimming with poetry… QPF 2010 was an unforgettable weekend, but more on that later… tonight is for dreaming.

There is however one thing I would love to share with you all. Poetry as we all know rarely gets alot of airtime in major newspapers, so it was a rush to be featured in a 6 page spread – Thrill of the Quill – in The Courier Mail’s glossy weekend liftout, QWeekend on Saturday (Aug 28).

In the article, Frances Whiting talks to QLD stalwarts, Bruce Dawe and David Rowbotham; one of the fresh young faces in Brisbane poetry, Zenobia Frost; UQP Poetry Editor, Felicity Plunkett; editor of Jacket Magazine, John Tranter and myself to get the lowdown on the poetry scene past,  present and future.

Here’s a link to download the article – Poetry is not Dead_Courier Mail – Qweekend_28 August 2010.



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A Million Bright Things – feat. Zenobia Frost

Here’s another dazzling local, featured on the soon to be launched CD – A Million Bright Things… ladies and gentlemen, Zenobia Frost!

Zenobia Frost writes poetry in cemeteries, articles at a desk in a backyard rainforest, and to-do lists on receipts, bits of paper, the back of her hand, and flatmates’ spare bits of skin. She writes, edits, and types for a living, and occasionally orchestrates cabaret events that are really an excuse to drink tea. Her work has appeared in Stylus, Mascara, Small Packages, Burdock (USA), Rave Magazine, Famous Reporter, and Voiceworks, and she has performed at the Queensland Poetry Festival, Tasmianian Poetry Festival, and around Australia with the Queensland Touring Poets Program. Her debut collection, The Voyage, was published by SweetWater Press in 2009.

Zenobia’s poem, Bathing with Gaiman is one of the sixteen poems featured on A Million Bright Things.


Bathing with Gaiman

Before reading in the bath,
I ease the book’s
jacket off. I

the steaming water with one toe
and shuffle off my own dust cover
to step
and slide
in and under,

holding the book above my head
like an umbrella. Then, spread
with my arms leaning on my legs,
I read, turning the pages

with the tip
of my tongue.

Later, while I scrub
or shave my legs
with my right hand,

I realise I’ve gone
cover to cover (or nearly).

The fingers of my left arm sulk
and strain, and I must
balance the book on my head
to flex the lameness out (and again

till feeling returns).
Then I swap hands and finish
my story and scrubbing,

to step out clean and complete,
steeped in someone else’s
glistening words.


Zenobia will feature at the launch of A Million Bright Things at Riverbend Books on Tuesday June 22. Doors open at 6pm for a 6:30pm start. Tickets are $10 and include a glass of wine and sushi nibbles. To book tickets call Riverbend Books on (07) 3899 8555 or book online at www.riverbendbooks.com.au


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Put Some Fizz in your Valentine

This Sunday, I am kicking it up at the Woolloongabba Antiques Centre as part of the first Ruby Fizz gig for 2010, and with it being Valentines day and all and the brief being to read from the works of a dead poet, I couldn’t go past Pablo Neruda. I mean, Neruda knows his way around a love poem! I believe the gig this Sunday is sold out, but you can shoot Zenobia an email (see the poster for details) as there is a second gig planned. For those people who can’t make it, there’s a little slice of Neruda to light up your synapses below the poster…


I want you to know one thing

You know how this is:
if I look
at the crystal moon, at the red branch
of the slow autumn at my window,
if I touch
near the fire
the impalpable ash
or the wrinkled body of the log,
everything carries me to you,
as if everything that exists,
aromas, light, metals,
were little boats
that sail
toward those isles of yours that wait for me.

Well, now,
if little by little you stop loving me
I shall stop loving you little by little.

If suddenly
you forget me
do not look for me,
for I shall already have forgotten you.

If you think it long and mad,
the wind of banners
that passes through my life,
and you decide
to leave me at the shore
of the heart where I have roots,
that on that day,
at that hour,
I shall lift my arms
and my roots will set off
to seek another land.

if each day,
each hour,
you feel that you are destined for me
with implacable sweetness,
if each day a flower
climbs up to your lips to seek me,
ah my love, ah my own,
in me all that fire is repeated,
in me nothing is extinguished or forgotten,
my love feeds on your love, beloved,
and as long as you live it will be in your arms
without leaving mine.

Pablo Neruda

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QPF Spotlight #16 – Ten QPF Poets

Just four more sleeps and I will be in poetry heaven… yes QPF 2009 is just around the corner. There are still some tickets left for Friday night’s, ‘A Tangle of Possibilities’ concert so make sure you get your seat booked asap. You can do that online here, or call The Judith Wright Centre of Contemporary Arts Box Office on (07) 3872 9000 between 12pm and 4pm.

And to help fill your next few days with poetry, I have put together a sampler from ten of the poets featuring at QPF this weekend. Hope this gets your poetry gland salivating.

See you at the festival!


The Violence of Work by Geoff Goodfellow

Ruminations, Allegro & The Swoop by Geoff Page

These are Wobbly Days by Anna Krien

Cheap Red Wine & Why I Write? by Bronwyn Lea

38 ways to stain a memory by Nathan Shepherdson

Death and the Maiden by Jeffrey Harpeng

And this is just the morning, glass to sea-junk: a sacrifice & How do you do, Tuatara? by Zenobia Frost

Getting off the Round-About by Janice Bostok

Of a Place by Elizabeth Bachinsky

One by Hinemoana Baker


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QPF Spotlight #9 – Zenobia Frost’s Desert(ed) Island Poems

QPF 2009 features many local talents, including hat fetishist, Zenobia Frost. This Spotlight takes us to the Desert(ed) Island of her mind and (some of) the poems that inhabit it. So raise your sails and let these poems carry you away…




Enivrez-Vous – Charles Baudelaire

Don’t be martyred slaves of Time,
Get drunk!
Stay drunk!
On wine, virtue, poetry, whatever!

With its simple language and imperative tone, I always thought this poem would sound best shouted by a drunk or a preacher or a drunk preacher from a soapbox in a busy town square.

This poem has had more influence on me than any other. In my teen years I found its call to arms so rousing that I painted the poem, in its entirety, onto my bedroom wall. I’ve endeavoured to follow its instructions and make the very best of whatever situation I find myself in—something I might need to be reminded of now and then in the desert. Furthermore, thanks to this poem, I refuse to wear a watch on principle; I think a feeling of detachment from Time might just come in handy while stranded on an island. No use counting down the days, after all.

Read it here: http://www.cs.rice.edu/~ssiyer/minstrels/poems/581.html


You Are Old, Father William – Lewis Carroll

When I have gone quite, quite mad from thirst and boredom, I can make up an infinite number of tunes to set this to, and sing it over and over. Maybe I could even catch an eel and learn to balance it on my nose, as the hero of the poem claims to be able to do.

One has to entertain oneself somehow.

Read it here: http://thinks.com/words/nonsense/william.htm


Lines Inscribed Upon a Cup Formed from a Skull – George Gordon, Lord Byron

Frankly, if I’m faced with the prospect of years alone on a desert island, I would hope that I’m taking a lot of booze with me. Just as there are drinking songs, this is a drinking poem, and is made to be performed.

Where once my wit, perchance, hath shone,
In aid of others’ let me shine;
And when, alas! our brains are gone,
What nobler substitute than wine?

Not only does it make me smirk, it also has a beautiful rhythm. Its language is truly inebriated—both fearless and playful, but with undertones of growing melancholy. This is precisely the kind of poem that Monsieur Baudelaire intended for us to get drunk on. The poet has resigned himself to his mortality and hopes to pour himself into the grave inoculated against rot, or at least the knowledge of it.

Read it here: http://www.poemhunter.com/poem/lines-inscribed-upon-a-cup-formed-from-a-skull-2/


Sexing the Cherry – Jeanette Winterson

Apparently this is marketed as a novel, but from the first reading I knew it was a novel-length long prose poem. Its dreamlike metanarrative stitches itself into your skin. It spins strange new myths into you. It elicits sighs of pleasure that you thought (foolishly!) only your lover could draw out of you. If I could, I would memorise large chunks of Sexing the Cherry and take it everywhere with me. What better place to learn it by heart than on a desert island?

When Jordan was a boy he made paper boats and floated them on the river. From this he learned how the wind affects the heart. His patience was exceeded only by his hope. I used to watch him standing in the mud or lying face down, his nose almost in the current, his hands steadying the boat and then letting it go straight into the wind. Letting go hours of himself. When the time came, he did the same with his heart. He didn’t believe in shipwreck.


‘i like my body when it is with your’ and ‘somewhere i have never travelled’ – e.e. cummings

(i do not know what it is about you that closes
and opens; only something in me understands
the voice of your eyes is deeper than all roses)
nobody, not even the rain, has such small hands

I’m going to be naughty and smuggle both of these poems in, one on each side of a piece of paper. somewhere i have never travelled is such a delicate love poem, and i like my body when it is with your is its perfect match, with its tender, erotic zing. These poems speak of lovers who are so adoring of one another; it speaks to my head full of romance and, on my island, will remind me of what I am missing. cummings’ style perfectly embodies the wonder-chaos of new love as it feels to the lovers, not to onlookers; cummings is thrilling, without being sappy.



Tides – Hugo Williams

For that is happiness: to wander alone
Surrounded by the same moon, whose tides remind us of ourselves,
Our distances, and what we leave behind.

I read this poem for the first time a few weeks ago, and it felt like déjà vu, for it achieves, in theme, what I tried to do in my chapbook. It is eloquent and concise; in so few words, it speaks volumes about its characters, and about human kind, and our ties to place.

I shan’t go on; it’s best to let it speak for itself. This is a poem that needs to settle within you, and needn’t be overanalysed. Let it make its promises to you: http://www.poemhunter.com/poem/tides/


The Summer – Josh Pyke

What a wonderful song, and what a delightful lyricist Mr Pyke is. The Summer is about nostalgia’s potential for both loveliness and devastation—after all, living in the past has its consequences.

There’s something characteristically Australian about the way Josh writes. He’s a great storyteller, and his words are warm and casual and genuine. After spending an album with him you feel quite sure you’d get on really well over a cup of tea on the verandah. In short, his poetry is trustworthy, and it reminds you to revisit the things in life you value.

On my desert island, I think I’d name a coconut Josh Pyke and tell it all my secrets. And it would sing this song.

Listen to it here: http://www.youtube.com/watch?v=q1ABbLlKTlw

Read it here: http://www.lyricsmania.com/lyrics/josh_pyke_lyrics_27462/other_lyrics_57987/the_summer_lyrics_857025.html


The Cloudland Funicular Cha-Cha – Rob Morris

Black shellac solid vinyl
scratches sounds from a time
when the whole world wore hats.

This paean to Brisbane’s iconic Cloudland dancehall was the first Queensland poem I remember hearing performed, and it was the beginning of my love affair with the fifties. Its images—‘a gal in a Lindy satin skirt and mohair top’ and ‘heavens dripping from my powder-blue suit’—strobe past in the ‘musical hysteria’. This poem takes you skidding right back to those heady days, and I think a time ‘when the whole world wore hats’ is surely the best time to skid back to.

You can find The Cloudland Furnicular Cha-Cha in the book of the same name, published by Post Pressed in 2005.


Skin – Shane Koyczan

This suite of poems is, frankly, delicious. I remember seeing Shane, a Canadian poet, perform these at the Queensland Poetry Festival a couple of years ago, and every single person in the audience had warm fuzzies. Shane’s poems are the vocabulary of lovers. They are comfort foods and long baths. They are the literary equivalent of spooning.

looking at you it occurred to me
I could sit around all day
wearing nothing but your kiss

you make mirrors
want to grind themselves
back down into sand
because they can’t do your reflection justice

There, don’t you feel so much better now?

Shane’s poems work best when performed, so the ideal would be to take Shane (and his band, The Short Story Long) on an mp3 player to my desert island. I could charge it by plugging it into palm trees or something.

Listen to Skin here: http://www.myspace.com/shanekoyczanandtheshortstorylong or pick up his debut collection, Visiting Hours (2005).


Lost (or ‘Deportment for Young Gentlemen’ or ‘A Young Woman Trying on a Victorian Hat’) – David Wagoner

Apparently Oprah likes this poem. I guess that means she must have good taste after all. Lost is a poem brimming with quiet wisdom. It is a poem to be read aloud in a silent room, or to chant to yourself when lost. It is the ultimate desert island poem, in that sense, because its message is that being lost—or stranded—is only an attitude. You can be found anywhere; you can be content anywhere.

If what a tree or a bush does is lost on you,
You are surely lost. Stand still. The forest knows
Where you are. You must let it find you.

If I could, I would sneak Mr Wagoner’s 1996 collection, Walt Whitman Bathing, with me too. The poems Deportment for Young Gentlemen and A Young Woman Trying on a Victorian Hat were close contenders for this spot on the the Desert(ed) Island list, but Lost won out because it would keep me sane.

Read it here: http://www.seishindo.org/david_wagoner.html



About Zenobia:

Zenobia Frost is a poetic adventurer, hat fetishist and protector of apostrophes who (when she remembers to) coordinates the seriously frivolous Ruby Fizz Society, which promotes local performance art and encourages cross-discipline creativity. Her poems have appeared in Going Down Swinging, Small Packages, Stylus, Mascara and Voiceworks, and her first collection, The Voyage, was published by SweetWater Press in May of this year. She hopes to one day make the perfect cup of tea.


Catch Zenobia at QPF 2009:


Saturday August 22 – 8:00pm

A Million Bright Things: featuring a short set from every bright thing on the 2009 program plus a feature set from the awesome Neil Murray


Sunday August 23 – 12:15pm – 1:15pm

Venus Walked In: feat. Jane Williams, Zenobia Frost & Noëlle Janaczewska


Sunday August 23 – 7:00pm – 9:00pm

Just Kissed Goodbye: feat. Paul Magee, Janet Jackson, Angela Costi, Jane Williams, Neil Murray, Elizabeth Bachinsky, Geoff Goodfellow, AF Harrold, Hinemoana Baker and the QPF Committee (of which Zenobia is a part of)


All sessions are held at the Judith Wright Centre of Contemporary Arts, Brunswick St. Fortitude Valley.

For full program details head to www.queenslandpoetryfestival.com


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A quick chat with Zenobia Frost

Zenobia Frost is one of the five feature readers at the final Riverbend Books: Poetry on the Deck event for 2009 to be held on Tuesday June 23 (see below for full details). She has also just launched her debut collection The Voyage … so I took the time to fire a few questions her way.




What initially drew you to poetry?

The way so much can be expressed in so few words.


When is a poem ready to be published/performed?

As Paul Valéry said, ‘A poem is never finished, merely abandoned.” It takes a rare poem to be publication-ready on the first draft, and I find that my poems need to be hacked away at for weeks or months before I find the gem shiny enough to put out into the world.


Has publication changed the way you approach your writing?

In a sense. Sometimes I write with a specific project in mind, considering where this poem might fit in a potential collection. (But usually, I don’t think too hard and just write.)


Why perform/read your poetry?

Words taste nice, and chewing them over tends to let more subtle flavours come out. I find different things in my poems when I read them aloud. Performing other people’s poems can be like tucking into a gourmet dinner; performing my own can be like baking and eating my own cookies. (They might be a bit burnt, but they’re mine, and I get to wear a pretty apron.) 


What is the greatest challenge faced by poets/poetry today?

Th vwl shrtg—lttl knwn sd-ffct f th glbl rcssn. T’s vry hrd t fnd pms wtht thm. Strvng pms qckl thn nd bcme jst lttrs sldng ff ppr.

We are concerned that the vowel shortage will soon extend even to ‘y’. Please conserve your vowels during this difficult time.

Seriously, though, I think the trickiest thing is staying abreast of new publications, new opportunities, and changing ideas. The Interwebs allow things to move disturbingly quickly.

Winter also presents the problem of needing to type with kid gloves on.


Poetry on the Deck:

Join Zenobia Frost on the Riverbend deck as we wrap up the 2009 Poetry on the deck events with a QLD Poetry Festival Showcase. This QPF showcase event also features multi-skilled artist, Angel Kosch (Standing on the Road); winner of The Dream Ain’t Broken chapbook competition Nicola Scholes (Dear Rose); one of Australia’s finest exponents of the Japanese forms haibun and tanka, Jeffery Harpeng (Quarter Past Sometime); poetic adventurer and protector of apostrophes; and experimental writer and musician, Marisa Allen (Fire in the Head).

Date: Tuesday 23 June
Location: Riverbend Books, 193 Oxford St. Bulimba
Time: Doors open for the event at 6pm for a 6:30pm start
Tickets: $10 available through Riverbend Books and include sushi and complimentary wine. To purchase tickets, call Riverbend Books on (07) 3899 8555 or book online at  www.riverbendbooks.com.au

The first two events this year have been hugely successful, so book early to avoid disappointment!


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