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Antigone Kefala wins 2022 Patrick White Literary Award

‘I am full of admiration for Patrick White, and for the encouragement he has given to Australian writers. I met him several times and liked him. I am very honoured to receive this prestigious award given in his name, and the recognition it offers, as for a long time my writing has existed outside the major lines of Australian literature.’

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Imants Tillers: a note on Credo

‘Just as “quotation” and “appropriation” are fundamental tenets of my work, so too is “repetition”. Also, as Mallarmé once declared: “All the Great masters, ancient and modern, plagiarized Homer, and Homer plagiarized God.”‘

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Lucy Dougan: a note on Monster Field

‘I think it is a common experience, a kind of haunting in a way, the sense that you are close to something that is significant but that nevertheless eludes you. Slippages could be a good word to describe it. It’s the intersection between the absolutely ordinary and the occult.’

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Extract: Mortal Divide by George Alexander

‘The first sounds I heard – I tell my friends – were the clatter of dice cubes and ice cubes. Between his chef-ness and his cigars he used up all the oxygen in the room, and so was happiest with women who breathed shallowly and aspired only to excellence in the art of devotion.’

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Bon and Lesley, a playlist by Shaun Prescott

Ahead of the Sydney launch of Bon and Lesley, Shaun Prescott presents an annotated playlist of songs he loved while writing the book. Tracks include those by OneFour, DJ Loser, Blue Divers, Bell Witch, and Troth.

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Michael Farrell: a note on Googlecholia

‘While experimentalism, as a framework, can defuse the impact of specific experiments, for myself, in this case, it keeps the writing alive to poetry’s possibilities: not just in terms of form (in its various aspects), but in terms of what can be said, and the range of voice deployed: the positions and positioning of voice.’

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Shaun Prescott: a note on Bon and Lesley

‘Unlike other fictions I’ve worked on in my adult life, I felt like I had to see this through to completion, that I could not write anything else until it was out of my way. Now that it’s finished, I feel like I’ve been evicted from a cold but nevertheless sheltering home.’

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Lisa Gorton: a note on Mirabilia

‘These poems are crowded with quotes, events, anecdotes, inventories, and fragments of myth, because I was trying to bring into poetry that heteroglossia (raznorechie, ‘varied-speechedness’) which Mikhail Bakhtin found only in the novel: a clash of different voices, different conceptions of world.’

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George Alexander: a note on Mortal Divide

‘The limited-consensus reality ignores the strangeness of most lives, of the consciousness that lives in us. Who was I then? Who am I really? Am I “George” or “Yiorgos”? Angel or devil? Well, both, of course.’

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Andy Jackson wins 2022 ALS Gold Medal

The award judges described Human Looking as a ‘sharp and brilliant collection…with powerful poetic skill and infinite compassion, this book illuminates the world differently and gives us a new way to see.’

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Luke Carman: a note on An Ordinary Ecstasy

‘Captured in the series of stories that make up An Ordinary Ecstasy are the voices of people strange to me, all of them in states of ordinary ecstasy – those moments of everyday intensity which punctuate the general calamity of consciousness.’

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Eleanor Goodman: a note on In the Roar of the Machine

‘Although Zheng has published several books and her work has been enthusiastically received in China and in international poetry circles, her poetry has typically been viewed under a narrow rubric, namely that of “migrant worker poetry” and the “migrant worker poet”. While this is where Zheng’s literary career began, it is only one part of the story of Zheng’s life and work.’

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