By Henrietta Cook and Jason Steger, The Sydney Morning Herald, 30th Jan 2019
Melbourne University Publishing chief executive Louise Adler and five board members have dramatically resigned after the university decided to shift its focus to publishing academic books.
Former NSW premier Bob Carr, who was among the directors who stood down, said the independent publisher had been replaced with a “a boutique, cloistered press for scholars only.”
More at The Sydney Morning Herald
It brings back fond memories to Tasmanians appreciative of poetry to read new work by Northern Ireland poet Stephanie Conn in Irish literary journal Banshee.
Stephanie was a guest in October 2017 of the Tasmanian Poetry Festival, coinciding with a visit to her sister-in-law who lives in the north of the island.
Since then she’s been busy with a new collection, published by Doire Press (Ireland) early in 2018 and entitled ‘Island’ (taking its inspiration from Stephanie’s ancestors, farmers and fishermen and women on Copeland Island off the County Down coast); John Foggin (6th Jan 2019) traces an appreciative appraisal of her work on his blog The Great Fogginzo’s Cobweb here. Also check out Northern Vision’s vimeo production Novel Ideas.
Donna Ferguson, ‘The Observer’, 27 Jan 2019
“Publishers have noticed there is an appetite for the writing of women and that if they ignore that appetite, they are not going to sell as many books. Young women working in publishing can also see what is popular online and say: this has a market.”
Emma Wright, 33, was one of those women. She set up her own poetry publishing house, The Emma Press, at the age of 25 after noticing that all the big publishers and poetry magazines were run by men – and that certain styles of poetry were not being published. “And it wasn’t because it wasn’t good. It was just not represented. It wasn’t in vogue. But the form, the subject matter and the style really resonated with me. I thought: who are the tastemakers? They did tend to be these older men,” she says.
Read more at The Observer
Links: Walleah Press
Read. This is poetry. Both a praise and a lament for Country. Read. There is little like it. Australia struggles with an embrace of the past, but Louise Crisp does not flinch from the intimacy of fact. If there is regret here, there is also hope – hope and a plea to you, reader, to witness the works of those for whom the land is not their mother.
Aboriginal people were born from Mother Earth and have no alternative but total allegiance. But acceptance of the colonial means that the Australian frontier has been misrepresented in what has been taught in our schools, and the economy and culture of Aboriginal and Torres Strait Islander peoples have been ignored. Country is that economy, and Crisp has devoted her life’s research to its upkeep. We must embrace the country beyond Donald Bradman, Vegemite and The Man from Snowy River. We have to look at the bush as its own place, not just as a repository for sheep and cattle.
Read the full text of Bruce’s introduction to Yuiquimbiang (Cordite Publishing Inc.) HERE.
Steph Harmon, ‘The Guardian’: 5th Dec 2018
Gerald Murnane has beaten Peter Carey, Richard Flanagan, Kim Scott and Michelle de Kretser to win $80,000 for his novel Border Districts in the fiction category at the 2018 Prime Minister’s Literary awards. Judged by panel, the awards are among the most prestigious in Australia and the richest, with $600,000 in total prize money awarded across six categories, including $5,000 for each of the 30 shortlisted authors.
More at ‘The Guardian’
Gay Alcorn, 21st Sept 2018, ‘The Guardian’
“I have something to say first,” says Gerald Murnane, to around 250 people who have come to hear Australia’s difficult literary genius in a rare outing. “You people here tonight can count yourselves fortunate … because this is going to be my last public appearance.”
Everyone laughs, including Murnane, who at 79 has said that before and stopped writing for many years before resuming. He’s finished with it now, he says, and Border Districts, released last year, will be his final novel.
More from Gay Alcorn at The Guardian
Richard Flanagan, ‘The Guardian’ 5th August 2018
When my father died at the age of 98 he had largely divested himself of possessions. Among what little remained was an old desk in which he had collected various writings precious to him over the years: poems, sayings, quotes, a few pieces he had written, some correspondence. Among them my elder sister found a letter written by one of my father’s cousins many years before. In it she told my father that his mother, my grandmother, was of Aboriginal descent, and that in her family she had been brought up to never mention this fact outside of the home.
My father loved discussing interesting letters with his family. He never discussed this letter. Yet he kept it. The story of covering up Indigenous pasts was a common one in Tasmania, where such behaviour was for some a form of survival. There is no documentation to prove my father’s cousin’s story is true, but that doesn’t make it untrue. It leaves the story as an unanswerable question mark over my family.
The theme of this year’s Garma festival is truth telling. My father’s story is about the questions truth raises, and where the truth takes us. I don’t tell this story to claim I am an Indigenous. I have too much respect for Indigenous people to make such a claim.
More from Richard Flanagan at The Guardian
The full list of thirty poems is at Hunter Writers Centre