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Author note: Kate Fagan on Song in the Grass

Song in the Grass feels to me like a record collection. It’s a handful of favourite albums, a box of lyrics, a soundtrack to living in the Blue Mountains while walking over ‘the long bridge of motherhood’, as the book might say. But it’s also an almanac of environmental care, and a love letter to poetry as an art that is most alive when shared in communities. With other players and listeners – just like music.’

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Jenny Grigg on designing the cover for Alexis Wright’s Praiseworthy

‘Many passages in Praiseworthy featured butterflies as if they were ‘force fields’, and an interpretation of this appeared when I flipped and rotated the swan image. The form dynamised the concept. A storm picks up on the front cover, pushes around the spine, and appears to tail out on the back cover.’

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An excerpt from Manisha Anjali’s Naag Mountain

‘When the two moons are released from shadow, we unravel the living reel and project the propaganda onto the sky. When we hear the ringing of temple bells, we hear songs that have been backmasked. When we hear the singing of conch shells, we hear songs that have travelled generations to be heard.’

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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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