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HEAT Series 3 Number 1

112 pages
Paperback, 21 x 14.8 cm
Published February 2022
ISBN 9781922725004
ISSN 1326-1460
Epub 9781922725226
Epdf 9781922725233


Alexandra Christie


Jenny Grigg

HEAT Series 3 Number 1

Giramondo’s celebrated literary journal relaunches in a third series

Award-winning Sydney-based critic Mireille Juchau opens HEAT Series 3 Number 1 with a deeply reported essay that examines the aftermath of war. Melbourne writer Josephine Rowe follows with a dreamlike story about a young family in an enigmatic setting. Queenslander Sarah Holland-Batt contributes a quintet of poems that take us as far as Brazil, before a reimagining of The Decameron in the Adelaide Hills by Brian Castro. In closing, Mexican-American writer Cristina Rivera Garza shares a macabre quest that resonates long after reading.


Mireille Juchau  Only one refused  non-fiction
Josephine Rowe  Special Stuff  fiction
Sarah Holland-Batt  Five Poems  poetry
Brian Castro  Brief Lives  fiction
Cristina Rivera Garza  Death Takes Me (trans. Sarah Booker and Robin Myers)  fiction

Artwork by Ben Juers


Image gallery

From the issue

Brief Lives

HEAT Series 3 Number 1
February 2022
There was a kind of shuffling about. People looked uneasy, as though a crime were about to be committed. Somebody coughed as sirens sounded in the distance, then an old woman who looked as though she had been asleep, her head back and her mouth open, took up the skein of talk like a trout after a fly.
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Only one refused

HEAT Series 3 Number 1
February 2022
Even as I uncover materials that suggest Renate’s appearance – a portrait of her sister on an East Berlin balcony in 1961, prisoner records from age sixteen till liberation, a Hollerith card that catalogues her physical features – she remains stubbornly abstract, a dream that can’t be retrieved.
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On Series 3 Number 1

HEAT Series 3 Number 1
February 2022
At the close of our second series, print seemed to be firmly on the way out. ‘The electronic medium beckons,’ the editorial of that last issue declared, ‘with its heavenly promise of weightlessness and omnipresence.’ And yet here we are: Australia’s international literary journal, available once again as a beautiful printed object, albeit a different looking one.
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