Tag Archives: Matt Hetherington

May 23, 2013 · 9:30 pm

Shisan: My Aching Back (Links #5 – #6)

My Aching Back is gathering momentum… that sense of community and playfulness that I had hoped for, so thank you again to everyone for participating as a writer or reader. Your energy is exhilarating!

It was again a true pleasure to read the nine poems on offer for Link #5, and again, the decision has been incredibly difficult.

Without a season to reference, it has been wonderful to see the way each poet has leaped forward from the gravy smeared winter moon. For link #5 there are visions of cane toads and cockroaches; passing buses and green men; rolled up trousers and backyard games; piles of marking, aphids and something just out of view…

Such riches to move our poem forward.

And while each of these poems would lead us down a unique path, there is one poem that has had me transfixed since reading, so it is with no regret, that I have leaped into the light with the cockroaches and added Chris’s poem to the shisan.

This means the call is now open for Link #6 – 2 lines without seasonal reference. I am already excited to see which way the poem will move, so leap boldly! This is the final link in the development stage… after link #6, we will be journeying into the darker side of things…

I will be back on Monday to make my decision for Link #6.

Happy weekend to you all,

*****

My Aching Back: Shisan
Started: 15 May 2013 – Finished:
Written between: Matt Hetherington, Lyndon Norton, Ashley Capes, Lee-Anne Davie, Chris Lynch

Side 1 – jo – preface

Link #1 (3 lines) – hokku (autumn)

my aching back
a leaf falls
from a branch

(Matt Hetherington)

Link #2 (2 lines) – wakiku (autumn)

as I put down the rake
the sky darkens

(Lyndon Norton)

Link #3 (3 lines) – daisan (non seasonal)

in the shed
removing a dropcloth
from old paintings

(Ashley Capes)

Side 2 – ha part one – development

Link #4 (2 lines) – winter  moon

gravy smears the dinner plate
winter moon

(Lee-Anne Davie)

Link #5 (3 lines) – non seasonal

I regret
the light switch
cockroaches

(Chris Lynch)

Link #6 (2 lines) – non seasonal

Side 3 – ha part two – intensification

Link #7 (3 lines) – spring blossom
Link #8 (2 lines) – spring
Link #9 (3 lines) – non seasonal

Side 4 – kyu – finale

Link #10 (2 lines)- non seasonal, love verse
Link #11 (3 lines) – non seasonal, love verse
Link #12 (2 lines) – ageku (summer)

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May 22, 2013 · 6:46 pm

Boondall Wetlands Ginko

On Sunday, ten of us embraced our haiku spirit and the natural wonder of the Boondall Wetlands as we set off on our Autumn Ginko. The sky was endless blue and the wind had a crispness to it… as did the poems that were shared after our time spent walking / sitting / dreaming. There is such a warmth and sense of kinship amongst the group… a sense of togetherness and discovery that is truly inspiring.

I hope that feeling shines through in these poems and that they give you the same inner sparkle that I get each time I read them.

Thank you also to Cindy Keong for her always stunning photography… already looking forward to our winter walk at Slaughter Falls.

wetlands grasses clk

[photograph by Cindy Keong]

*

self-guided tour, making a note to learn how

(Chris Lynch)

*

sunlit grass
my eye loses the way

(Roger Callen)

*

on the shorebirds turf
a crab filters mud

(Andy Smerdon)

*

pelican rising clk

[photograph by Cindy Keong]

*

to kill the mosquito
he slaps my face gently

(Matt Hetherington)

*

some tree species show every bump of the cyclist

(Andrew Phillips)

*

stingless bee
the old man
picks a flower

(Jonathan Hadwen)

*

crow poet clk

[photograph by Cindy Keong]

*

after the poets leave the crow comes

(John Wainwright)

*

daydreaming
further and further
off-track

(Cindy Keong)

*

river mouth
my brother’s infected toe

(David Stavanger)

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May 21, 2013 · 8:07 pm

Shisan: My Aching Back (Link #4 – #5)

I put the call out for an inventive moon verse and 13 poets delivered!

In the 18 poems I had to consider, the moon was seen in grandpa’s shaving mirror and stuck up a tree; it was gravy smeared, radiating, spilling milk; it was both full and crescent; it was smashed bone china, a woman’s navel, old paint tins, watercolour strokes; it was dusting the path, riding the storm, destroying the landscape; it was with and without a song.

It was wonderful to see the moon is no many different ways… so which way did I leap?

Well there were many poems that continued to pull at me long after reading, but in the end, I narrowed my focus to these three:

For its sparseness and clarity…

stuck up a tree
winter moon

(Andy Smerdon)

*

For its agelessness and its ability to age…

grandpa’s shaving mirror
another winter moon

(Chris Lynch)

*

For its use of humour and colour…

gravy smears the dinner plate
winter moon

(Lee-Anne Davie)

Narrowing it down to one has been a struggle, but the poem must move forward… and to move it forward, I have chosen Lee-Anne’s ‘gravy moon’. I went with Lee-Anne’s as the gravy smeared plate linked so inventively back to the drop cloth and its roll of catching the paint.

Before I move on I do want to respond to Mal’s query about the need to use ‘winter moon’ in its entirety. While the 3 poems I narrowed things down to all do this, it is most certainly not a requirement. This is important to clarify as we move through the poem and to other verses such as link #7, spring blossom.

So now the call is open for Link #5 – 3 lines, without any seasonal reference. This leaves plenty of room for experimentation, but be sure to read back through the poem to avoid repetition of any images such as trees, leaves and darkness as they are already strongly represented in the poem.

Leap boldly!

*****

My Aching Back: Shisan
Started: 15 May 2013 – Finished:
Written between: Matt Hetherington, Lyndon Norton, Ashley Capes, Lee-Anne Davie

Side 1 – jo – preface

Link #1 (3 lines) – hokku (autumn)

my aching back
a leaf falls
from a branch

(Matt Hetherington)

Link #2 (2 lines) – wakiku (autumn)

as I put down the rake
the sky darkens

(Lyndon Norton)

Link #3 (3 lines) – daisan (non seasonal)

in the shed
removing a dropcloth
from old paintings

(Ashley Capes)

Side 2 – ha part one – development

Link #4 (2 lines) – winter  moon

gravy smears the dinner plate
winter moon

(Lee-Anne Davie)

Link #5 (3 lines) – non seasonal
Link #6 (2 lines) – non seasonal

Side 3 – ha part two – intensification

Link #7 (3 lines) – spring blossom
Link #8 (2 lines) – spring
Link #9 (3 lines) – non seasonal

Side 4 – kyu – finale

Link #10 (2 lines)- non seasonal, love verse
Link #11 (3 lines) – non seasonal, love verse
Link #12 (2 lines) – ageku (summer)

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May 19, 2013 · 8:09 pm

Shisan: My Aching Back (Links #3 – #4)

Response to Link #3 (the daisan):

Again, let me first thank the five poets who jumped in and offered their words for the daisan. Without you, their is no moving forward. And each of these poems offers a way forward…

In re-reading the hokku and the wakiku, I have made the decision to flip the order of the images in Lyndon’s verse. For me, this adds an even greater musicality to the poem.

So now to the daisan, the break away verse…

Ashley moves us inside the shed, where we (almost immediately?) assume the rake was stored, only to find ourselves removing a dropcloth from some old paintings. This discovery adds a richness to the image and successfully shifts us away from the earthiness of leaves and raking.

Lee-Anne moves us inside behind venetian blinds, where in the darkness, she comes to the realisation, there are many moons.

[I want to take the time to point out that while this is image works well on its own, it brings the moon into the poem one verse too soon, as Link #4 calls for an appearance (or at least the hint of an appearance) from the winter moon.]

Andy places us at lizard height on the road, with the echo of oncoming traffic rippling in our ears.

Mal, sounds a seemingly distant siren as the cold metal burns and Cindy introduces a second person to the poem, then tears the breath from our chest as words are left to hang in the crisp night air.

I tossed and turned between two of these poems, but in the end, settled on Ashley’s ‘in the shed’ for its elegant twist.

This means the call is now open for Link #4 – 2 lines winter moon. The moon is a powerful force in haiku and has been called on to do a lot of work in the first 100 years of English language haiku, so let’s leap boldly in the search for a unique take on the moon as it enters the winter sky (and our shisan).

Enjoy!

*****

My Aching Back: Shisan
Started: 15 May 2013 – Finished:
Written between: Matt Hetherington, Lyndon Norton, Ashley Capes

Side 1 – jo – preface

Link #1 (3 lines) – hokku (autumn)

my aching back
a leaf falls
from a branch

(Matt Hetherington)

Link #2 (2 lines) – wakiku (autumn)

as I put down the rake
the sky darkens

(Lyndon Norton)

Link #3 (3 lines) – daisan (non seasonal)

in the shed
removing a dropcloth
from old paintings

(Ashley Capes)

Side 2 – ha part one – development

Link #4 (2 lines) – winter  moon
Link #5 (3 lines) – non seasonal
Link #6 (2 lines) – non seasonal

Side 3 – ha part two – intensification

Link #7 (3 lines) – spring blossom
Link #8 (2 lines) – spring
Link #9 (3 lines) – non seasonal

Side 4 – kyu – finale

Link #10 (2 lines)- non seasonal, love verse
Link #11 (3 lines) – non seasonal, love verse
Link #12 (2 lines) – ageku (summer)

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May 15, 2013 · 7:42 pm

Shisan: My Aching Back (Links #1 – #2)

Responses to Link #2, the wakiku:

What an exciting beginning! Let me extend a hand of thanks to the seven poets who took the leap and offered their words for the wakiku. It is in the offering that we build community and I look forward to being a part of this dynamic community as the poem builds. Thank you also to the readers… without you, our voice remains unheard / unread. You are a vital part of this shisan and I hope you stay with us as the poem grows.

Now, to the offerings.

There is such a diversity of images on offer, which makes the job of making a selection all the richer. From the lyrical shimmer of Mal’s ‘golden sentinels’ and John’s ‘scythe’ to the sharp brevity of Chloe’s ‘goosebumps’, the words on offer add their own dimension to the colour and ache that is at the heart of Matt’s hokku.

Lyndon (El Norto) adds a sense of time (and slaving) and places the pain inducing rake squarely in hand; Ashley adds a mystery to the falling leaf, with her fine first line ‘the message in code’ which links beautifully back to the leaf and on to the movement of the bird; Trish introduces a drunk uncle and their shadows; and Andy adds an ache to the eyes as breath leaves the chest.

Such riches to leap into… Where did I land?

For its tightness of link, I have chosen Lyndon’s ‘the sky darkens’ with one minor edit – the addition of ‘as’ at the beginning of the second line to strengthen the run on effect of the lines. This now means the call is open for link #3, the daisan.

This is where the playfulness begins, as the daisan is seen as the first big leap and functions as a break away poem in the shisan. What we are looking for is a verse that takes us in a new direction, without fracturing the spell of the poem. So dream big and leap boldly.

Happy Friday to you all,

*****

My Aching Back: Shisan
Started: 15 May 2013 – Finished:
Written between: Matt Hetherington, Lyndon Norton

Side 1 – jo – preface

Link #1 (3 lines) – hokku (autumn)

my aching back
a leaf falls
from a branch

(Matt Hetherington)

Link #2 (2 lines) – wakiku (autumn)

the sky darkens
as I put down the rake

(Lyndon Norton)

Link #3 (3 lines) – daisan (non seasonal)

Side 2 – ha part one – development

Link #4 (2 lines) – winter  moon
Link #5 (3 lines) – non seasonal
Link #6 (2 lines) – non seasonal

Side 3 – ha part two – intensification

Link #7 (3 lines) – spring blossom
Link #8 (2 lines) – spring
Link #9 (3 lines) – non seasonal

Side 4 – kyu – finale

Link #10 (2 lines)- non seasonal, love verse
Link #11 (3 lines) – non seasonal, love verse
Link #12 (2 lines) – ageku (summer)

*****

After the inventiveness and energy of the New Junicho – Between Thistles, I have decided to experiment with another form, the shisan, and open it up to anyone who wants to participate.

Here is a link to some reading on the shisan and a fine example composed by Barbara A Taylor and Vasile Moldovan.

To begin the poem (and give it its name), I have invited the soon-to-be Brisbane based Matt Hetherington to write the hokku (opening verse) and from there on in, the poem is wide open to contributions from anyone, anywhere. All you have to do is write a comment on the post with your suggested link. To make things easy to follow, I ask that everyone begins each comment with the number of the link they are writing, for example, link #2.

I will leave each link open for submission for roughly 36 hours before making a selection and adding it to the poem. Once a link has been added, you can then begin posting suggestions for the next link.

*****

So with Matt’s poem burning in the hokku position, the call is now open for link #2, the wakiku. The role of the wakiku, otherwise known as the flanking verse, is to closely support and amplify the hokku. It may examine the wider backdrop against which the action of the hokku is set, or focus in on a particular detail so as to provide further depth and tangibility.

I am already looking forward to reading your suggestions, so now… it’s over to you.

Leap boldly!

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May 1, 2013 · 8:33 pm

On Joy and Sorrow

QLD Poetry Festival’s ‘Artistic Director’, Sarah Gory, recently invited a number of Australian poets to respond to a handful of questions that explore the wild landscapes of Joy and Sorrow. This interview series, named for Kahlil Gibran’s famous poem in which he artfully says that joy and sorrow are two sides of the same coin, was inspired by the ‘on beauty‘ series that Lemon Hound are currently running.

On Joy and Sorrow

In inviting us to participate, Sarah has encouraged us to open up about how we as poets interact with the emotions we are often accused of ‘evoking’. Living with and responding to these questions was a genuinely moving experience, so I hope there is something in these responses to carry with you… So here I am, talking ‘On Joy and Sorrow.’

And while you are reading, I recommend exploring the responses of Betsy Turcot and Matt Hetherington; there is much to revel in.

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January 5, 2013 · 6:55 pm

The riches of Australian poetry: five exciting releases from 2012

2012 was a year of riches, with some stunning Australian poetry collections released. Some of these books have not left my bedside, their words always circling. So before 2013 kicks into top speed, let me share with you a handful of books that would make fine companions to the books already on your shelves.

*****

asymmetry_avenuescover.qxdAidan Coleman – Asymmetry

Asymmetry is a book that celebrates the exhilaration of language and life. Written in the year after Coleman had a stroke that left him without language and the full use of his body; the poems in Asymmetry provide ‘lightning flashes’ of insight into the poet’s healing process. I have read this collection cover to cover many times over and with each reading, comes a release of pure joy.

Here’s a link to an interview with Aidan, a review of the collection and where you can buy it.

***

Water MirrorsNicholas Powell – Water Mirrors

Winner of the 2011 Thomas Shapcott Poetry Prize, Powell’s words step lightly through the natural landscapes of Finland and Australia and the luminous landscapes of intimacy, desire and memory. Justin Clemens nails it when he describes the work as, ‘at once domestic and cosmic, these poems burgeon like ferns in the bitumen.’

Here’s a link to a review of the collection and to where you can buy it.

***

Eye_to_EyeMatt Hetherington – Eye to Eye

Here’s what I wrote for the back cover… says it all!

Hetherington’s writing has a spell-like quality, revealing gashes of pleasure in moments where you thought only darkness existed. it looks beyond truth into the deeper unknown, to turn the key on the ‘deadlocked heart’. Muscling toward the light, each poem creates its own clamouring music. This is a work of uninhibited force – a bloodletting of language.

Read a poem from the collection here and get in touch with Matt to pick up a copy.

***

TWP-jpgJean Kent – Travelling with the wrong phrasebooks

I can’t say it better than Paul Summers, so here’s an excerpt from his review of the collection:

Jean Kent’s poetry is both gentle and powerful. It is tender and brutal, gossamer and robust, like ‘an argument with air’. The palette of her reference shifts effortlessly between continents, between epochs and psychologies, from Rilke to The Animals. She is a poet ‘swinging on the ropes of curiosity and hunger’, gifting us distilled studies on belonging and separateness, on trauma & repair.

Here’s the link to the review and to where you can buy a copy.

***

home{sic} front cover1Julie Beveridge – home{sic}

I will finish with a book that is very dear to my heart, yes, it’s one that I published. So I’ll hand over to Michael Fitzgerald-Clarke to capture the essence of the collection:

home{sic} is a book of journeys: we are taken to a number of places on the planet, to both Australian locations and North American ones.  Beveridge’s perceptive powers of observation are acute. These are travelogues with hard, sometimes jagged edges.  Yet these edges are leavened with a wisdom that resonates with deep psychological truths. As home{sic} reaches its climax on the other side of the Pacific, Beveridge invites us to be, if not defacto God parents for her as a 21st century Eve, then, in a secular sense, partakers of her future journeys with her to-be-born son.  This is an invitation proffered with rich humanity, and a powerful, overarching sense of the joy of life.

Here’s a link to the full review and to where you can buy a copy.

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June 18, 2012 · 8:23 pm

What they are saying about home{sic}

With the launch of home{sic} set to go off tonight, I thought I would give you a sneak peek at what people have been saying about the collection. Here’s a few choice words from Matt Hetherington:

Beveridge doesn’t muck around too much.  From Kings Bridge in Launceston to Dundarave Pier in Vancouver, via Mount Gravatt, she’s at home with not being at home.  Here, you get her usual sharp, dark wit, but also a new and heartening sense of the hard-won riches of the spirit.  There’s a gratifying variety of styles, too, from understated prose poems on lust, pregnancy and love, to haiku/senryu, to lyrical recollections of sundry 20th century tomfoolery, which take in various cultural points of departure and arrival, from Yevgeny Yevtushenko to Burt Bacharach.  Read her book today, cover to cover.

*****

See you at Riverbend Books tonight for the launch. Doors are at 6pm!

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February 4, 2010 · 8:01 pm

From This Broken Hill

Meuse Press have just released an anthology of writing and photography from Broken Hill, a place where the sky touches the earth, where the rim of the world, if there were one, would seem to the eye only an armstrech away.

The anthology features poetry by David ‘Ghostboy’ Stavanger, Matt Hetherington, Les Wicks, Richard Tipping, Amelia Walker, Mike Ladd, David Brooks and many others. It celebrates the land, the people and their lives.

Images of roadkill

These creatures tonight/ breathing/ moonlight and dust (Roadkill, Teja Pribac)

and other wildlife

Corellas skirl in gumblossom,/ a drugged snake/ is scribbled in dust/ on the sun-tight plain (This Summer, Mark Miller)

leap out and whack the senses. We are shown intimate portraits of some places of significance;

Whole animals/ pile at the bottom/ of a man made ditch./ A stench you can taste/ glues breathing lungs to rib cage (broken hill landfill, Marvis Sofield)

 we meet some of the locals;

The black man at the dinner table/ frowns at the cloth,/ searches his mind/ for the right ways to speak of it (The Ranger at Willandra, Jen Thompson)

and look deep into the shafts of lead and silver mines.

An eye of fire/ Lost in the cerulean haze/ Pounds the memory/ Of Maltese miners/ Groping in the depths/ Of the blasted earth (Upon Beds of Lead and Silver, James Waller)

The selected images range from the visceral to the historical and sit more than comfortably alongside the poems and short stories.

A shimmering snapshot of Broken Hill and it’s surrounding region that draws you in, searching for the finer detail.

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September 9, 2009 · 9:48 pm

Overload Poetry Festival in Review

Well the ALS 2009 Tour rolls on, and the 4th leg of the tour took me too the cooler climes of Melbourne town. The big difference on this leg of the tour was that guitar-slinging Rock Pig, Sheish Money was along for the ride. Now Sheish and I have played lots of local gigs, but outside of QLD and Northern NSW, the other states have so far missed out on the Nunn/Money experience. So I have to say… we were fairly excited!

Friday kicked off with the launch of Overload 2009 at the Fitzroy Town Hall, MC’d by poetic raconteur, Myron Lysenko. A truly beautiful venue and great space to mingle with the Melbourne poetry crowd. I was really impressed by the passion of the Mayor who delivered the best speech I have ever heard from a politician at such an event. You really got the sense that she was right behind the festival. After the speeches, The Heart Chamber featuring Matt Hetherington, Tom Joyce, Lia Hills, Marian Spires & Michelle Leber performed a set of love poems. Matt Hetherington’s poem , When I Am Not With Her There Where She Is, the absolute stand out and one of the best contemporary love poems I have read in the last decade.

So with the room feeling the love, Santo Cazzati hit the mic dressed in checked suit and matching hat with all the energy of a box of snakes, promising us to keep us safe from the Fitzroy Ghouls as he lead the poetry crawl, Takin’ it to the Streets. And we were off…

First Stop Dantes.

Sheish Money & Graham Nunn Blue Velvet2_gimpKicking  things off was Gabrielle Everall (WA), who I had seen perform last weekend in Perth. Gabrielle delivers her words in a darkly musical voice. Her poems brimming with equal parts beauty and menace. Her set was followed by fellow West Australian, Vivienne Glance and the man who is on a quest to become Australia’s first poet laureate, Ben Pobje. So with the first leg of the crawl setting the bar high, the crowd was whitled into action, and set off to Southpaw in pursuit of Santo Cazzati and the offerings of poems by Anthony O’Sullivan, Jenny Toune, Kimberley Mann & Sam Byfield. Sadly, Sheish and I had to miss Stop Two to rush back to The Nunnery, get our gear and head off to Blue Velvet to sound check for the the third and final stop for the night.

Third Stop Blue Velvet.

Sheish Money & Graham Nunn Blue Velvet1_gimp

With the sound check done and the crowd squeezing in to the lounge-room sized back room, we hit the stage to open proceedings. No intros, no talking, just the sparkle of Sheish’s big red Kasuga brightening my poems. This was the teaser for Saturday night’s set, so we played only three poems Nomads, Ocean Hearted & Seeing a girl off in a summer storm. The room feel into that deep silence, and for those few minutes, the world seemed to close its eyes. We looked at each and smiled, eager to play an extended set tomorrow night. We were then followed by the be-helmeted Alex Scott and Bribane’s surrealist wildcard, Ghostboy. A Ghostboy set is something to behold. The crowd is just as much a part of the show as the man/ghoul/poet himself. Tonight Ghostboy tied one woman to a chair and incited another pair of ladies to passionately kiss on the carpet. He was on, the crowd lapped it up and he lapped the cheeks of several men in the audience.

We had taken to the streets and the streets had embraced us.

Jenny Toune Bella Union_gimp

Saturday was the big one… tonight Sheish and I stretched our poetic riffs at the Bella Union Trades Hall, sharing the stage with tap-dancing poet Jenny Toune and the mighty Sean M. Whelan & the Interim Lovers. Jenny kicked things off with a show that blew away all my expectations. I have to admit, when I read tap-dancing poet, I wondered whether one of the art forms would suffer, but within minutes, she put all those concerns to rest. She had the moves and the words to make the stage light up. It was a great opening set and a real pleasure to have seen.

 

Sheish Money & Graham Nunn Bella Union1_gimp

Sheish and I were up next, and champing at the mic. From the moment we plugged in, it felt good. We opened with Gutter & Edge which is on the forthcoming CD and the sound, lights and crowd were all in sync. From there we kicked in to Save Me/Lessons, Sheish showing off his full-throated growl, with me stepping in and out to punctuate the verses. It was then in to the newer poems,  Sentinel and And What Voice Says. The dark guitar loop and lead flourishes giving And What Voice Says a whole new life. Sheish then pumped straight into the big open chords of Grounded before channeling Bootsy for a funky version of Oooo… We then reinterpreted old favourite In Devotion Sheish Money & Graham Nunn Bella Union3_gimpto Life’s Sordid Affairs and closed the set with Sheish tearing into the mic with his song Poetry and this Lost Shark, dropping in Point Danger between verses. It was a tight set, the interplay was good and we walked off stage, only to be called on for an encore. This is where the true brilliance of Sheish comes into play. I named a poem and he just knew the right chords… it was off the cuff, it was spontaneous and it was right. We walked off into bright lights of the Bella feeling good.

Sean Whelan & the Interim Lovers Bella Union_gimp

And to round off the night Sean M. Whelan & the Interim Lovers took to the stage unveiling a new set of poems, which reinterpret the Lewis Carrol classic, The Hunting of the Snark. Whelan is a gifted poet and performer. Tonight he swayed with the band’s subtle movements and writhed as they reached crescendo. The poems, never overshadowed by the band and the band… well, I was mesmerised. In fact I could have watched/listened to it all again. I look forward to seeing this project evolve.

Steve Smart Bella Union_gimp

And with MC Steve Smart, bringing the night to a close, we all stumbled off into glorious Lygon Steet for more wine, pizza and endless conversation.

During my time at Overload I also had the pleasure of seeing Eric Beach at The Dan; Santo Cazzati, Steve Smart & Carmen Main, Eddy Burger and Jo Truman & Warren Burt at Glitch Bar and launching Maurice McNamara’s debut collection, Half-Hour Country at Dantes (more about that soon).

There is something incredibly special that happens when poets come together… and this Lost Shark was once again, honoured to be a part of the poetry community. Sheish and I tip our hats to James Waller and crew for all their hard work. I hope you guys are still revelling in it.

To keep up to date with all the Overload events visit Overland and be sure to leave a comment.

NB: All photographs taken by Michael Reynolds… one of this world’s true gentlemen.

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