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Quizzical and full of quizzes — Hunter’s work investigates humanity’s often toxic and arrogant relationships to place and wildlife. She tackles subjects ranging from commercialism, subjectivity and individuality in the suburbs, and their nefarious connections under late capitalism and in the long shadow of the climate crisis.

Anchorage implies a place of safety but isn’t. Nothing is quite what it seems where Hunter’s poetry ventures and observes. It is a moving soundscape taking us who knows where. The gorgeous fish you caught? It’s a killer pufferfish.
Angela Gardner

Anchorage is a mesmeric Wunderkammer, each poem a glass case of curiosities to be marvelled at, pondered, comprehended. The pages twinkle with live-wire language, biting humour and quirky objects (an elephant foot, ivory bagpipes, a neon-sign-graveyard, jellyfish chandeliers). As Hunter traverses the globe, searching for ‘a place to inhabit/ (her)self’, the language also meanders bravely, finding its own meaning outside ‘the polish of cut & dried expectations’. With a deep sense of ecology founded in compassion, Hunter encourages us to renew our connections with the birds, beasts and landscapes of our tortured earth. We exit the Wunderkammer better people: more awake, more aware, more in love with our surroundings.
Alison Flett

Rose Hunter’s book of poetry, glass, was published by Five Islands Press (Australia, 2017). She is the author of two poetry books with Texture Press (USA), and one with Artistically Declined Press (USA). In 2020 she received an Australian Council for the Arts grant. Rose was born in Australia, lived in Canada for ten years and then Mexico for almost ten, with some time in the USA in between. She can be found nowadays in Brisbane and online at rosehunterwriting.wordpress.com.

Cover art by James Knight