This was, we can all agree, something of a concertina year, in which time contracted and expanded with surreal inconsistency. When are we now? What is yesterday? Did I do anything this year except hand-wash masks? How many more times can we hear the phrase ‘strange and uncertain times’ before it is just meaningless sounds?
Wherever you are, I hope you and yours are safe, and feeling as secure as one can during, well, ‘strange and uncertain times’.
Art Starts Here: 40 Years of Metro Arts
I was extremely fortunate this year to be able to mine the archives of Metro Arts (definitely a COVID-safe zone), and to spend many weeks making art-affirming phone and Zoom calls to artists, performers, producers and arts administrators whose work has impacted Brisbane any time between about 1974 and now. The end result, beautifully designed by Sean Dowling and Ashleigh Jacobsen, is Art Starts Here: 40 Years of Metro Arts. If you’re interested in Brisbane, or artists’ communities, or architecture, or anecdotes about terrifying lifts — this book is for you. I’m very proud of it and very grateful to Metro for letting me steer it as editor.
‘Ghost Light’ (Red Room)
Find the ghost light in a closed-for-good arts centre. (This piece, unsurprisingly, emerges out of my time in the old Metro Arts building and archives.) This psychogeographic poem/piece of interactive literature is best enjoyed in full-screen with headphones. Thank you to Red Room for publishing this piece as part of their 2020 Fellowship shortlistee commission series.
Griffith Review kindly included my little poem ‘Quince Season’ in their Generosities of Spirit issue. Backslash Lit included an interactive Twine version of my poem ‘Blueprint: Bramble Terrace‘ in their first issue. Earlier in the year, Scum Mag printed two iso poems, Blue Bottle Journal let me wax lyrical about the moon in ‘Eight Phases’, and just recently Overland kindly printed a prose poem called ‘sandwiches‘.
All things considered, it’s been a huge year. (It just doesn’t feel like it, because the year feels like one, long, never-ending day.) My book, After the Demolition, turned one in September, and this year I received the Wesley Michel Wright Prize for an excerpt from it. Like everyone else this year, I had plans scuttled—I didn’t get to visit the USA for poetry adventures. (One. Day. I’ll. Get. To. The. Dang. Frost. Place. Seminars!) But I’m grateful that I’m able to start over in plotting out 2021: thank you to the Brisbane City Council for allowing an extra year to fulfil Lord Mayor’s Young and Emerging Artists Fellowship plans.
I also got to spend this year working with absolute legends at the Queensland Poetry Festival: Michael, Anna, Angela, and Amanda. It may not have been the year we originally planned! But we delivered nearly 100 online performances and workshops, and got to hang out with lots of amazing poets from our community—and further afield. Poetry workshops are really the best use of Zoom!
I didn’t learn to make sourdough. I did learn enough basic coding (thank you, Yarra Libraries, for amazing free workshops with Tegan Webb!) to spend every bit of spare time this year making poetry toys/text adventures in Twine, and also this poetry oracle Twitter bot (to represent Bec Jessen’s Ask Me About the Future online):