It’s finally chilly enough to cart a jacket around on hot busses all day in readiness to look cool in the evenings, so you’ll see a lot more of me out and about. There’s been so much great poetry on in Brisbane recently, with folks like Rae White, Ella Jeffery and Shastra Deo at Saturdays; Pascalle Burton and Mindy Gill at Riverbend Books; and, just last week, Bec Jessen and Jarad Bruinstroop (below) at Couplet:
I have a poem out this month in Rabbit‘s new LGBTQIA+ issue, in extremely good company. This is a really worthwhile issue to have, with work by many of the poets mentioned above (Rae, Bec, Jarad), as well as Stuart Barnes, Pam Brown, Quinn Eades, Toby Fitch, Mitch Tomas Cave and Rory Green (my ol’ Toolkits pals), Angela Gardner, Jessica Wilkinson, and many more.
I also have a poem, “Civic Duty“, in Red Room Poetry‘s POEMS TO SHARE II. This educational resource features 40 poetic activity cards to spark imagination and creative writing. Inspired by original commissioned, student and educator poems from Poetry Object, this interactive resource is designed to enliven poetic learning through language, literature and literacy.
Coming up in worryingly few weeks (where did the year go?), my QUT postgrad poetry pals and I will be reading work responding to Gertrude Stein at QUT Art Museum’s Salon de Fleurus on 19 June, from 6.15pm. Salon de Fleurus is an artwork, a contemporary reconstruction of Gertrude Stein’s Parisian salon that existed at 27 rue de Fleurus from 1904–34.
It’s a month ago now, but I spent my birthday very pleased with myself at Taronga Zoo, and thence became a blushing fan of both Sydney’s Newtown and our president, Eileen Myles. Carriageworks was a sublime venue for a writers’ festival, made all the better by being visible from our AirBnB window. I also found out that Sydney green-thumbs grow some truly great pot plants, as below.
Thank you again to Queensland Poetry Festival, Festival 2018, and Queensland Art Gallery for hosting Moving Words — such a warm, welcoming event. I hope we see more inter-arts collaborations in Brisbane — there was so much energy in the gallery, and clearly the stimulus created fantastic work. (It definitely drove me out of my comfort zone; I loved the challenge.) Special thanks to Melinda Busch from Deaf Services Qld for signing our poems.
You can read the ekphrastic poems of Lionel Fogarty, M.T.C. Cronin, Jarad Bruinstroop, Nathan Shepherdson, Theresa Creed, Angela Gardner, David Stavanger (and me) here. I loved hearing the different forms our responses took, and especially enjoyed Jarad’s “Bribie Island, 1965” and David’s “Bad Dad”.
My poem, Bathers, is in two parts, the first set at the time the poem was painted, and the second a century later.
We loved having the scaffold-bar at Southbank – like a big deconstructed Queenslander. We even watched a bit of the athletics. The Festival bar set-up should be there always — what a great view. Also digging the Flowstate Jem light installation, which we lay under for close to an hour.
I’m heading down to Sydney next week to hear Eileen Myles, Carmen Maria Machado, A.F. Harrold, and others at Sydney Writers Festival – my birthday reward for getting a draft of my exegesis sorted this week. (Credit for good taste must go to my girlfriend, who put Myles’ and Machado’s books in my hands recently.)
My QLA Queensland Writers Fellowship year is already a whirlwind.
I wrote more poems than ever before in 2017 — avoiding my exegesis is great motivation – and published 14 poems, in States of Poetry, Australian Poetry Journal 7.2, Stylus, Pressure Gauge Press, Red Room Company, Scum, Woolf Pack and more.
This year I have a forthcoming commission for Moving Words (a QPF/QAGOMA/Commonwealth Games Festival collaboration), called Bathers, after a Robert Bunny painting in the Aus. Collection at Queensland Art Gallery. There’ll be an Auslan-interpreted live poetry walk through the gallery in April, where an excerpt from the poem has also been installed.
(I saw a lot more Bunnys on my trip to the Gallery of South Australia, and expect I might continue writing queer revisionist poems about them.)
I also have poems printed or forthcoming in Woolf Pack #10, Rabbit and Foam:e, with a poem recently shortlisted in the Judith Wright Overland Poetry Prize. Congratulations to Evelyn Araluen and Rae White on their much-deserved wins.
I’m particularly proud of a recent review I wrote (on the plane back from Adelaide) of Dickinson’s Room. This one’s up on Daily Review, but you’ll find my scrappier, on-the-fly Adelaide Fringe Reviews here. (I was meant to be on holiday.) Please go see it, if you’re in Adelaide — and please tour everywhere, Bad Neighbour Theatre.
Emily [Dickinson] is no madwoman in the attic; Bad Neighbour Theatre realise her as a complete and complex woman. Just as Dickinson made her solitude rich and full, we experience how expansive she made her life in this tiny space.
I’ve joined the editorial team of a refurbished Stilts, with Ella Jeffreys and Emily O’Grady. The journal has a wonderful history, and we’re proud to bring it back to its Brisbane roots and refocus its attention firmly on Australian poetry. The first issue of Stilts is curated from commissioned poets (future issues will be open subs), and we have a truly fine crop of poems to share soon. All the action begins soon; keep an eye on the Stilts website or facebook page for updates.
Longstanding Brisbane femmo zine Woolf Pack will launch its 10th (!!) issue in March – keep an eye out for their next event. WP #10 (founders Rebecca Cheers and Talia Enright pictured below) features poems by Rebecca Jessen, Rae White and moi, plus heaps of gorgeous art and prose.
Somewhere in all this, I’m working on my manuscript and MPhil at QUT, and watching a lot of soothing renovation shows (and finding there’s not a dry eye in the Queer Eye house). Pray 4 me.
It’s raining poems on the World Wide Web this week (and raining, well, actual rain in Brisbane). This is poor timing for me – our new unit’s NBN is glacial, so we’re struggling to read poems/load gifs while haunted by the smooth white-noise of 1997 modem sounds.
I’m so glad to have a poem out today with Red Room Company called “Bramble Terrace” – one of my blueprint poems, about a now-demolished house in Red Hill. This was commissioned following the Red Room Poetry Fellowship short-listings, and it’s something I’ve been tinkering with for some time. I seem to have lost most of the the photos I took inside the house, unfortunately, but this was the mosaic in the bathroom:
Earlier this week, the Australian Book Review published the Queensland wing of their States of Poetry anthology, now in its second year. Thank you Felicity Plunkett for your deft editing and for bringing us all – Anna Jacobson, Pascalle Burton, me, Sam Wagon Watson, David Stavanger and Liam Ferney – together.
This week, catch poets and writers from all over Australia from the comfort of your own bed at the Digital Writers Festival (if you aren’t reliving ’97 download speeds). Don’t miss Brisbabes Rae White, Rebecca Jessen, QUT Lit Salon (feat. Emily O’Grady, Rebecca Cheers, Mindy Gill, Annabelle de Paola, and more) – and download yourself a sick new zine while you’re there.
What’re you waiting for? Get On-Line!*
*It took over an hour to upload these gifs… but Neopets still loads okay. 👌
I’m writing to you through the gentle fog of a well-earned hangover. I’m still in stunned disbelief, but I have the certificate now, and it says I won a Fellowship at the Queensland Literary Awards.
This is absolutely life-changing stuff. Let’s be real: I’m a postgrad student writing poetry in Australia. Making ends meet and saving energy for creative work is a challenge, especially in what has been a varied and strange year. But through 2017 (I guess I’m allowed to toot my own horn on today of all days?), I feel I’ve been writing bolder, sharper poetry – my best yet – and I’m so, so grateful (and relieved and amazed and flabbergasted) to receive a prize that both legitimises my work and buys me real time to write in 2018.
It’s especially wonderful to be recognised by the Queensland Literary Awards – Brisbane is the most consistent character in my writing. This prize means I’ll actually have the time and means to make the various daft paeans to my city I’ve been desperately wanting to: poetry travel guides to lost and uncanny Brisbanes across zines, collages and digital artefacts. I can finish my second manuscript. And I am going to find that damn Dragoncoaster.
Last night was also the night I felt like I finally “emerged” after several years of occupying a strange grey space between “emerging” and “established” writer. Thank you so much to the QWF judges for thinking of me as a grown-up, and thank you for helping me pay my rent and go to the dentist so I can write in a room of my own, with all my teeth.
Congratulations to my fellow winners and finalists of this year’s Queensland Literary Awards. I hope you, too, are eating cheese jaffles in bed with your cat this morning. (Pictured above are my co-Fellows, Linda Neil and Mirandi Riwoe.)
Many, many thanks are due. Each of these thanks comes wrapped in a very sparkly ribbon, but if you hold it in your hand it is cool and has weight, like a river-stone:
Here, as a reminder to myself forever, are the judge’s comments:
It was the ambition and design of Zenobia Frost’s proposed poetry collection A Museum of Dwellings that impressed the judges. The collection aims to examine some of the most pressing concerns in our relationship with space and place in the 21st Century, including psychogeography, travel, urban development and displacement, and this with a very Queensland focus. Frost’s poetry is both elegant and philosophically sophisticated and the panel agreed she is likely to produce a work of lasting significance.
Philosophically sophisticated! Me!❣️
Here is a final important gif expressing my feelings today:
This month’s QUT Literary Salon theme is very much in line with my brand: Oddities and Esoterica. I’ll be reading from my fave niche genre, eco-fury – come along if you’d like to hear just how mad moths can get.
The guest reader for the September Salon is Mirandi Riwoe, with student readers Sarah Crawford, Annabelle de Paola, Zenobia Frost, Jack Jarden and Chloe Mills.
Here’s the gang at Queensland Poetry Festival – I feel so grateful to have met these poets this year. They’re wonderful humans and, as Sarah Holland-Batt (supervisor to most of us/superhero poet/photographer that day) pointed out, we look like a boy band. High praise.
Big congrats to Anna Jacobson, Emily O’Grady, Mindy Kaur Gill, Ella Jeffreys and Rebecca Jessen for their current QUT domination of a variety of literary prize shortlists. ✨
I’m stoked to appear on the program on Friday, 25 August in the Judith Wright Centre shopfront, alongside two poets I admire so much:
1–2pm Deep North: Poetry Reading
Free event co-presented by QUT Creative Industries
Readings by Zenobia Frost, Red Room Poetry Director Tamryn Bennett and one of QLD’s foremost contemporary poets, Bronwyn Lea.
This event comes after a great-looking panel on poetics in Australia, What Even Is OzPo. For QPF, I’m refining some very Brisbaney poems. I spent a month in NYC recently – went to a slam in Manhattan, bought a lot of books, etc. – but mostly I sat in a rocking chair on the back porch of this house upstate (below) and read a lot. There is so much poetry going on in NY/America at large; I’m really looking forward to this particular QPF panel, after the contrast of seeing how alive poetry publishing is in other places. On which note, have a read of Kent MacCarter’s recent essay on OzPo in Overland.