Issue 3: Spiel

I like to think that some of the works published in the first two issues of Marrickville Pause have conveyed it as a journal of spielerisch (‘playful’) poetics … And It is for this reason that for the third issue of Marrickville Pause I was looking specifically for poems that ‘play’.

This idea of ‘spielen’ (or playing) I feel has been interpreted and implemented by the poets of this issue in various ways. Take the Chewy Dragees (‘TAKE A SELFIE’ or ‘READ PALMS’) that feature through out Pam Brown’s fragmented poem: ‘(a no-title title)‘, or Stuart Barnes’s ‘Chalicento‘: a cento constructed from various poems of the late-great Ern Malley. I could say more, but being such a small magazine (as is always the aim), take a break, have a Kit-Kat or a Milton Mango and enjoy the poems: Issue 3: Spiel




P.S. In 2018 Marrickville Pause will endeavour to release three issues: Issue 3 (‘Spiel’) in February, Issue 4 in June, and Issue 5 in October.

Now with Issue 3 released The Pause is currently accepting submissions of poetry, prose, visual art and photography for the fourth issue (possibly themed, stay tuned), with the submission deadline being May 31st.



Stranger Zines – Zine launches and Creative Readings

Come on down to the Goodspace Gallery in Chippendale on December 14th for a night of readings / zine launches. Hard-copies of the first two issues of Marrickville Pause will be available alongside copies of Pink Cover zine and So Fi zine.

See the Facebook event HERE for more info.


Issue 3 ‘Spiel’ – Call Out for Submissions

Issue 3 ‘Spiel’ – Call out for Submissions
Submission deadline: January 31st, 2018



I like to think that some of the works published in the first two issues of Marrickville Pause have conveyed it as a journal of spielerisch (‘playful’) poetics … And It is for this reason that for the third issue of Marrickville Pause I’m looking specifically for poems that ‘play’.

For the Situationists, such as Guy Debord, the idea of play played an integral part in challenging the Spectacle, or ‘the colonisation of daily life’ (Barnard 2004, p. 107), through the implementation of psychogeographic techniques such as the derive – dropping one’s ‘usual motives for movement and action’ by letting one’s self be ‘drawn by the attractions’ of an urban environment and the encounters one may find there (Debord 1956, para. 1).

Closer to home, in 1943, over the course of one day, two Australian poets (James McAuley and Harold Stewart) attempted to make a mockery of the modernist approach to poetry, and in doing so introduced Ernest Lalor Malley into Australian literature. Their creation, created out of the desire to ‘take-the-piss’, is still regarded as one of the most interesting, and at the least, most entertaining, happenings in Australian poetry.

So, take the piss, spiel-away, get a new name, satirise your favourite poet, or if the desire to write can’t be summoned, take a photo, collage some images from a National Geographic, and send to before January 31st.

See the Submissions tab for more specific guidelines.







Barnard, A 2004, ‘The Legacy of the Situationist Internationale’, Capital & Class, Conference of Socialist Economics, No. 84, pp. 103-124.

Debord, G 1956, ‘Theory of the Derive’, situationist internationale online,



Issue 2: dialogue

Issue 2: dialogue

The title of the second issue of Marrickville Pause draws on the series of photographs developed as an on-going conversation between German photographer Simon Grunert and Australian artist Jack Banduch. With 14 photographs from each of them finding points of relation through colours, forms, concepts and textures, to create a dialogue between two distinct objects, or geographies.

Other instances of conversations, or ‘dialogue(s)’, can be found through-out the poems and prose of this issue. Take Liam Ferney’s ekphrastic poem ‘Gaze’, for example, which responds to various photos from the German photographer Steiglitz; Michael Farrell’s ‘Slightings’, with its playful deconstruction of Russell Crowe through a series of questions; or Nick Chlopicki’s ‘A Desk Poem’, which creates a conversation between multiple objects through collage. Not to mention all the dialogues to be had between the readers of this issue and the works therein.

Marrickville Pause is going on a bit of a holiday for now, but welcomes submissions for Issue 3, with the deadline being January 31st. Stay tuned, it will be themed!

I’d also like to thank all the people who’ve submitted to the second issue of Marrickville Pause.



Issue 1: the Pause that Refreshes

Issue 1: the Pause that Refreshes 

I envision the first issue of this magazine to be like the ‘Marrickville Pause’ in itself – a short inescapable moment of distraction, where contemplation and interpretation set in between a deep breath and a squint. A poem of sorts, an untimely ‘Pause that Refreshes’.

I want to thank the people who’ve allowed me to publish their poems in the first issue of Marrickville Pause and Nick Chlopicki, whom helped shape this magazine idea initially. I will also use this space to welcome submissions for the next issue I hope to release in August. The deadline being July 31st.


Jake Goetz

A Welcome Pause

Marrickville Pause started in early 2016 as a print zine of poems written by a friend and I under numerous pseudonyms. We wanted the magazine to be fun, democratic, piss-taking, colloquial and full of all the other attributes we believed one would (should?) associate with contemporary Australian poetry and writing.

We released our first issue, Issue 3, by printing off copies at the UTS library in Sydney and placing them in odd places here and there throughout the city. We had plans for another issue, things folded, until now …

Therefore I make the call for submissions to the first issue of Marrickville Pause: a journal of poetry, prose, visual art, photography and extended forms of hoo-haa. Though each issue will be themed, for numero uno, i’m more interested in a miscellany of the imagination and experience. Maybe this quote will help to get things started:

‘… in the composition, the artist does exactly what every eye must do with life, fix the particular with the universality of his [or her] own personality – Taught by the largeness of his [her] imagination to feel every form which he [she] sees moving within himself [herself], he [she] must prove the truth of this by expression. – W.C. Williams.

The magazine will be released online in April 2017 and print copies will also be available upon request. Please see the Submissions tab for the guidelines.


Jake Goetz