AustLit

'I. 'Moon and Evening Star', Adelaide, October 2019/Yirrkala, June 2019

Among the glories of Tarnanthi, the Festival of Contemporary Aboriginal and Torres Strait Islander Art at the Art Gallery of South Australia in 2019, one work has special significance for me. It is a painting made with earth pigment on stringybark by Buwathay Munyarryun called Wirrmu ga Djurrpun, 'Moon and Evening Star' (Figure 1). Powerfully vertical, 225 by 62 cm, on a piece of bark that flares slightly at each end, the composition speaks precisely and with authority. You can feel the care with which the brush has made its marks. Animals, human footprints and birds move up through the panels of downward flowing water on either side to a crowning horizontal band where crescent moon and star appear white against the black sky. ' (Introduction)

'The author-editor relationship is little understood outside the publishing industry and often mischaracterised by those within it. Commentators agree that this relationship is difficult to define and complicated, with the distribution of power ebbing and flowing in response to a variety of pressures (Speck 304; Houghton np; Ginna 1-13). Adding to the mystique, the editor's role in book production is opaque. Editors have been seen as either minor players—an optional extra—at one end of the spectrum, or as gatekeepers to publication at the other. This article posits that this is due, in large part, to the relationship's historic shrouding in secrecy. However, changes in the profession, and publishing broadly, must be accompanied by a mature dialogue. From the origins of editing as a trade with an apprenticeship system and little formalised instruction, many practitioners now have graduate qualifications and participate in national professional associations which set industry standards and support their members. An increased awareness of the editor's role and the attributes of a strong author-editor relationship will improve book production, serving authors, editors and readers.' (Introduction)