Forever – is composed of Nows –

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 7.2StylusPressure Gauge Press, Red Room CompanyScumWoolf 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.

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(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.

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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.

Queensland Writers Fellowship

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.

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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:

  • The Queensland Literary Awards and State Library of Queensland;
  • Sarah Holland-Batt and Rohan Wilson, my champions and cheerleaders at QUT;
  • Francis, the best and most precious of all humans, whose voice got me (and gets me) through this year;
  • My loving parents, Kathy and Derek, who put Babette Cole’s Princess Smartypants in my young (probably sticky) hands;
  • Tamryn Bennett and the Red Room Poetry Company, who’ve always supported my work;
  • My long-time collaborator and beer pal, composer Timothy Tate – it has been a pleasure to share each success over 15 years of friendship;
  • Woolf Pack‘s Rebecca Cheers, Cordite‘s Kent MacCarter, and my Voiceworks Magazine editors and co-editors;
  • The QUT poetry crew, with special congratulations to my fellow Fellow, Mirandi Riwoe, Queensland Premier’s Young Publishers and Writers Award winner Mindy Gill, and finalists Emily O’Grady and Anna Jacobson (who was also shortlisted in the Emerging Writer Manuscript Award);
  • Sally, for the impromptu writing residency in your home (and perfect NY woods) earlier this year;
  • Kentucky Route Zero and Cardboard Computer, for expanding and challenging the way I think about poetry and space (and working-title inspiration); and
  • Every friend, support person and cat who has believed in me. You keep me afloat.

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:

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