Posted by admin on Mar 16 2013, in
Writing Speculative Fiction is gunning for a writerly and readerly revolution. Bacon urges both writers and readers to do the intellectual work – to be aware of the ways in which we are culturally constructed beings, and to endeavour to write and read beyond ourselves. Read more.
Science fiction often reveals more about the present than it does the future, and more about our own world than any imagined one. Read more.
The figure of the astronaut mother in science fiction represents a site of confluence between the seemingly incompatible cultural ideals and archetypes of the astronaut and the mother. Contemporary science fiction stories struggle to merge these identities without breaking the mother in the process of making her an astronaut. Read more.
If women aren’t encouraged to pursue careers in scientific fields, it’s unlikely they’re going to have the confidence to write in a genre that uses science as a launch pad for fiction. Read more.
One feels that Letters to Tiptree is an extremely important book, but one also fears that, similar to the extraordinary woman who is its subject, it may disappear into obscurity all too soon, without receiving the wider attention and celebration it absolutely deserves. Read more.
The colonists will likely never again feel the sensation of sun or wind against their bare skin. The concept I really wish to explore through my writing is: if we leave Earth behind, how might that affect our humanity? Read more.
An association between mental illness and creativity in general—and poetry in particular—has been proposed plenty of times, although it has never been properly proven or understood. Read more.
A writing teacher once said to me, “you must write what you dare not”, and this is what I strive to do through my poetry. Often I write what I would never be brave enough to bring up in normal conversation. Read more.
I have only ever been sent to the principal’s office on two occasions. Both times were at primary school—once for swinging off the top of the jungle gym like Tarzan from a vine hanging from a nearby tree (and then, perhaps most damningly, coordinating the queue of children who lined up for turns after me); and again for a poem I wrote. Read more.
Perth Culture interview
Poetry for the Head from the Heart: Contemporary poetry is relevant because it addresses situations that are familiar to us. Older poetry is a little more foreign in its context, style and traditions, but at its core are the same human emotions and desires that will remain relevant as long as we are human. Read more.
Crux #9 interview
Interview with Lorne Johnson: I had that fear of poetry that is very common; I was afraid I didn’t understand it. Terrified in fact. I was sure I would be discovered as a complete fraud and kicked out of the class. Read more.
Feminist of the week: Sexism is not an old-school attitude displayed by a minority of men – our brothers, fathers and sons are sexist. Most mothers and daughters are inadvertently sexist too. We live in a patriarchal society and, as such, we are inherently influenced by its traditional rules and value system. Read more.
Good Reading magazine
Performance Poetry: It’s not that small collection of lonely and neglected books that most readers walk past at the back of your local bookstore. It’s not the baffling lines your teacher made you memorise to pass your high school English exams. And it’s not old-fashioned or difficult to understand. So what is performance poetry? Read more.
The Victorian Writer magazine
Why the Jester is no Fool: Jesters were able to get away with saying things no one else could. They existed outside the otherwise stifling restraints of manners and class. They may have been the lowliest member of the court but they enjoyed a lot of freedom and had plenty of influence. So, too, do many modern-day comedians. Read more.
Behind the Curtain: Ryan Van Winkle at the Melbourne Fringe Festival: Everyone is always insatiably curious about the other envelopes, he says. He doesn’t know why—there’s nothing to see in them, he says, just other poems. (As if poems weren’t exciting. As if, given the chance, one wouldn’t peruse the poem not taken.) Read more.
Writers Victoria website
Transitioning: My Journey from Stage to Page and Back Again:
I had never thought about self-care in terms of artistic practice before. I hadn’t been looking after myself, or my art. Read more.
Dear Future Me: I’m constantly thinking of ways to make life better for you, to make you “successful”, whatever that entails. When I’m having a bad day, a bad week, even a bad year, just believing that my actions today might make you happy somewhere, sometime, is what gets me up in the morning. The past is set but the future is free, and you live in that undiscovered country. Read more.
Lip magazine poetry reviews
Lupa and Lamb by Susan Hawthorne:
‘Lupa’ means wolf, so Lupa and Lamb is the hunter and the hunted, the dichotomy of woman as dangerous seductress she-devil, and innocent bleating victim. These tired archetypes cross cultures and centuries…. In many ways Lupa and Lamb is like a historical fiction, travelling back through the ages to tell the stories of women who were silenced. Read more.
Gap by Rebecca Jessen:
This verse novel makes a strong political statement. It shows how a murderer might actually be a victim, and how the inequality of society fails people—how young people can so easily fall through the gaps and might never find their way back. Read more.
Heartbeats by Candy Royalle:
One wholly new aspect of Royalle’s work that reveals itself on the page is her creative and innovative use of punctuation. She is not afraid of running words together or turning familiar symbols inside-out.
Award Winning Australian Writing 2013:
These stories and poems all won competitions between July 2012 and June 2013, while the country was consumed by a political witch-hunt that ultimately saw our first female prime minister burnt at the stake. The contributions to this anthology witness wrongness against women and expose the sickness of a society that, for all our progress, remains sexist at its core. Read more.
Australian Love Poems 2013 (ed. Mark Tredinnick):
The fact that one poem touches you deeply, while another leaves you cold, has more to do with chemistry than literary techniques. Sometimes you can’t say why a certain poem delights you; it just does. Different things turn us on—in poetry and in love. Read more.
the Book of Ethel by Jordie Albiston:
Through chronicling one woman’s life, the Book of Ethel voices the experiences of a whole generation of women. And, in so doing, it tells a story that is foreign yet familiar, romantic yet realistic, banal at times but ultimately brave and beautiful. Read more.
Magic Logic by David Mortimer:
When reading a poetry collection, if I’m lucky, there might be one or two moments that catch my breath—when a poet’s particular insight or phrasing is so profound that it invokes a special kind of magic—delivering a rush of emotion that makes me gasp. I might describe this sensation as a literary orgasm. Read more.
Too Afraid to Cry by Ali Cobby Eckermann:
Her story not only exposes Australia’s shocking history of cruelty and neglect towards its Indigenous people, but also depicts a patriarchal society that too often shames women and fails to support or protect them when they are most vulnerable. Read more.
Heaven on Earth: 101 Happy Poems (ed. Wendy Cope):
The editor of this anthology says that she compiled this anthology as an argument of sorts against widely held ideas that joy ‘won’t be put down on paper’ and that ‘Happiness is the one emotion a poem can’t capture’. Read more.
Mappings of the Plane: New Selected Poems by Gwen Harwood:
Harwood’s poetry criticized idealised concepts of motherhood and exposed the frustration and isolation faced by women, especially young women with children. Read more.
Chemistry by Jamie King-Holden:
These poems are brave and honest; they acknowledge the despair of everyday life and challenge the reader to consider the cruelty and eccentricity of society—to discern its contradictions and common horrors. Read more.
The Argument by Tracy Ryan:
More than anything, it’s the domesticity that appeals to me about this book. The poems often point to ordinary details that wouldn’t normally be considered poetic—from mouldy fruit to falling over in the car park. Read more.
Award Winning Australian Writing (ed. Adolfo Aranjuez):
It was wonderful to read works that were surprising and imaginative, and written in genres that I wouldn’t normally pick off the shelf. Read more.
Life on Mars by Tracy K. Smith:
Smith uses space as a metaphor to raise serious questions about human nature and our transient presence here on Earth. This book reminds us that we are part of something much larger than ourselves, and with that realization, comes responsibility. Read more.
Best Australian Poems 2012 (ed. John Tranter):
How disappointing, that in a decade of publication, there has only been one female editor, and for nine out of ten years, the person deciding the “best” poems written in this country has been male. Read more.
Don’t Start Me Talkin’ by Paul Kelly:
The way the lyrics appear on the page gives them the look of poetry, yes. And some of the expression and use of figurative language certainly reads like poetry. I can understand the comparison, and it’s undoubtedly worthy of it. However, is it poetry? Read more.
The Sunlit Zone by Lisa Jacobson:
This verse novel is aptly named. It is lilting and tidal. Its lyric language is lively, playful, and yet dares to dip into the darkness that dwells under the surface of ordinary lives.