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There continues / right NOW / to be / an iconic presencing / to a slow —- light-bright / Saturday Morning. Bread / with locally-crafted / marmalade. Knife licked / with a subtle delight / Such a delicate art this!
Fellow traveller, I urge you / do not simply skirt the margins: / stride out across the machair, touch / freedom’s fruitful fabric. / By all means mosey / around the material: But, / for the love of God, always / digress, digress, digress.
Philip Harvey has been poetry editor of Eureka Street since its early days. Now he has decided that it is time for him to step down from his position in favour of a younger editor. I appreciate the thoughtfulness and generosity of his decision though I feel deeply his loss to us. And I am grateful to him all that he has given to Eureka Street of his skills and of himself, all on an almost honorary basis.
I was invited to read the poetry at Eureka Street by Morag Fraser, sometime in the mists. She shouted me coffee at the Chinese place across Victoria Street from the magazine’s Richmond offices. That was nearly twenty years ago. As we crunched on fortune cookies, she popped the question. I’ve been editing poetry at Eureka Street ever since and have only chosen to let go of the job this summer.
There is a great deal of commentary about the growing importance of artificial intelligence, or AI, especially in business circles. To some extent this is a self-fulfilling prophecy — if people think something will have a seminal effect then it probably will. But if the supposed commercial benefits are significant, the dangers are potentially enormous.
I’m not sure that my Greek grandchildren know the word antediluvian or whether they have heard of Methuselah, but they certainly consider me an ancient relic who occasionally tells tall tales and true from the legendary past, and from another land. Of course they are unable to conceive of life or domestic space without screens: even my youngest grandchild, who has just had her first birthday, knows when a Skype call is imminent, and coos accordingly.
I own my proclivities and short comings / I own the transgressions of those which have inflicted wounds some unhealed / I own the sublime moments of subjective joy / I own little but I am rich in compassion / I own not the land it owns me
The largest wave is friendship. / Heard stories about seamlessness / that sleepy beast of an upsurge that carries you in / until your fin cuts a channel in the sand. / There are dumpers that leave you gasping. / Will & persistence, how a cold current / can race to your head.
You’re a scavenger / so restless in your wakings / picking remnants in the hours / thieving at the doorstep / to sleep-this threshold / I turn to your profile / mussed hair dark on grey / we are always touching.
Although I teach poetry and do occasional workshops, the following is written in response to one such workshopper, new to writing poetry, who in lockdown would message me on social media with fairly open-ended questions about poetry. My answers are written after the wry manner of the Polish poet Wislawa Szymborska; wry, but generally helpful. They are not the launch pad for a new poetics. I have stopped for now at 12 questions, but the questions keep rolling in.
After an excruciating few weeks of negotiations with the Nationals — and far too many hours subjected to Barnaby Joyce’s ramblings — the Morrison government has finally announced their predictably underwhelming plan to reach net zero emissions by 2050.
These weekday mornings all is quiet. / I stroll across the highway, / a piddle of cars in the outbound lane, / a puddle at the distant lights. / Along the parkland trail / cowled figures walk alone, / measuring their distance. / From the rise above the railway cutting / Macedon stands burly in the smoke-free air.