AustLit

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My provocation and my concerns are with some specific material conditions for certain Australian writers (poets, primarily but not exclusively). With bodies and places. About showing up, or not having that opportunity, once something is written and published. About being a writer in public spaces where readers are, where collegial or even unfriendly interlocutors are, where gatekeepers are. Or not. About Hicksville, the sticks, the badlands. Somewhere over the range and far away.' (Introduction)

'The light on Solway Firth is silver, slung low across the water. Although it’s mid-morning, within a few hours the sun will slip beneath the horizon. Accustomed to the wide blue mouth of sky in Australia, I feel as though the earth has tilted. My friends and I scramble over rocks weathered by the wash of tides. I’m wearing thermals, two jumpers, a red beanie and a coat, but the wind flies from the sea through my layers. My teeth clatter. We clamber around a corner, where we can just see Scotland on the other side of the firth. I wonder if Georgiana Molloy, who became Western Australia’s first female scientist, ever stood where I am now before she left England in 1829. Would she have smelled brine sweeping from the sea, her gaze drifting east over the salt marshes green with flat sedge, channels of water running between them? If she lifted her eyes, would she have seen a flock of starlings spiralling?'  (Introduction)

'Earlier this year Rodney Hall published a new novel, A Stolen Season, which has been well received, and which will renew interest in his gifts as a fiction writer. As with his previous novels, including Just Relations (1982), Captivity Captive (1989), and Love without Hope(2008), Hall deploys his vivid style to create a morally engaged study of characters who are caught in states of psychological and emotional intensity. While Hall’s novels are themselves not as known as they should be, it is his significant body of work as a poet, consisting of a dozen collections from 1962 to 2002, which is especially forgotten. The interest around Hall’s new novel gives us the occasion to look again at his poetic oeuvre, which was once thought to be among the most outstanding in Australia but which now is seldom discussed or anthologized, and remains out-of-print.'  (Introduction)

'I’m a local now. That’s what they tell me, now that I have someone in the ground. I watched my husband, my father, my brother, and my uncle, brace their feet at the grassy edge of the hole as they lowered my mother’s shrouded body in, straps under her neck, her waist, her knees; a corpse in a snug muslin bag, strewn with roses: the human-animal shape of her clear. She wobbled until she hit bottom, until the clay had her. We sent more roses in after her. Scattered soil on the petals, slowly at first. And then we picked up spades and shovelled it in. And now the same curve of earth that holds my home, holds her. When I sit at my desk to write, she is under the same ground that is beneath my feet. When I lie down in my bed at night, there are no human others between me and her, just forest and grass and rock and sky.'  (Introduction)

'The Everlasting Sunday is the first novel from Robert Lukins, a Melbourne writer with a background in journalism, and it’s an entirely distinctive debut: rich with atmosphere, beguiling in its blend of lyricism and quiet menace. Lukins has pointed to a year spent working as a village postman in Shropshire as his inspiration for the rural English setting, here cast in the stark monochrome of an unusually harsh winter. By contrast, the stories collected in Moreno Giovannoni’s Fireflies of Autumn: And Other Tales of San Ginese take place in the hills of Tuscany – a world coloured by turns in scorching sun and unrelenting fog. Giovannoni was born in San Ginese but grew up in rural Victoria, and has worked for many years as a freelance translator. The manuscript of Fireflies of Autumn was the first winner of the Deborah Z. Cass prize for writing by Australian writers from migrant backgrounds. The authors share a lyrical sensibility and a finely-tuned sense of how the fantastical and the mundane, the hopeful and the brutal, are woven together in the stories which define our communities.'  (Publication summary)

'Six Degrees from the City is a podcast about writing in Western Sydney, hosted by the writer and critic Fiona Wright. Each episode features a writer based in or hailing from the western suburbs of Sydney, one of the most diverse – as well as most maligned – areas in Australia, and the site of some of our most interesting and challenging literature and conversations. This episode features the writer and researcher, Eda Gunaydin.' (Introduction)