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Celebrating David Malouf at 90

We celebrate one of Australia’s best-loved writers and a long-time supporter of Giramondo, David Malouf, with a recorded interview, Malouf’s contributions to HEAT, and a poetic tribute from Nicholas Jose.

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An excerpt from Jonathan Buckley’s Tell

‘I can talk for as long as you like, no problem. You’ll just have to tell me when to stop. How far back do you want to take it? Because Lily is what it’s about, in my opinion. And the mother is part of the story too. Father too. Goes without saying. But maybe better to pick them up later. Shall we start with the crash? Seems an obvious place.’

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Author note: Manisha Anjali on Naag Mountain

‘I sought to recover the dignity, beauty and complexity of the girmityas, who otherwise only resided in the shadow of the archive and dissipating cultural memory. Living close to the sugar cane plantations on Minjungbal country, I came to understand history as a living, continuing phenomenon.’

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Author note: Kate Middleton on Television

‘I have tried in this book to think about that time watching television not as escapism, but as, in some way, real experience – experience filled with memories and images and emotions that I carry with me into the real world.’ 

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Three vignettes from Paradise Estate by Max Easton

‘After some hectoring, Dale told them about the circumstances that lead to him being made redundant (‘who doesn’t wank at work?’ the eldest at the table said, and when the youngest was hesitant to support Dale, the older man yelled: “what are you a priest?!”). Dale laughed meekly with these people, who he felt a comfort with, a generation who had never picked him up on his behaviour.’

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Transcript: Jennifer Mills’s launch speech for The Idealist by Nicholas Jose

‘[Jose] is a serious writer with an internationalist outlook that is not extractive – a rare thing – but eternally curious…His work often has a sense of mystery that shows his generosity also extends to readers. He’s not rushing to solve the world for us, or explain it, but opening our eyes to its wonders and complexities.’

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Max Easton: a note on Paradise Estate

‘I tried to take notes and wrap a narrative around all these events, to find parallels by way of allegory, to satirise the process itself as I went, allowing the march of 2022 to dictate the progress of the book. It was much more of an experimental process than I imagined, and it took a lot of work to bring it into some kind of order.’

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