It’s real! My tickets to Germany are BOOKED!
I’ve not been to Europe since I lived in Cambridge for a couple of years as a kid. I remember mountains flashing past my Gameboy Colour from the back of rental cars and getting in trouble with security at a castle for fishing coins out of a grand wishing fountain. I was very privileged to also see a lot of art and eat a lot of delicious food. My parents are nothing if not adventurous.
This will be my first time travelling overseas in six years (New Zealand doesn’t count, right?). Thanks to the fairy godmother that is ArtStart, I’m travelling to Freiburg for two weeks in the Black Forest studying poetry. Whaaaaaaaat! I almost don’t believe myself, but now that I’ve paid for real actual existing tickets, reality is finally sinking in.
I’ve been working my booty off at my fave home-away-from-home, Lush, so with my savings I’ll also be able to see Munich and Berlin; go hiking in Sorrento; make limoncello on a lemon farm; and say hi to some dead people in Pompeii. (I had a list of cemeteries and catacombs I dearly wanted to visit, but that’ll have to be next time.) I hit the road (or the air, really) for a month in July.
Meanwhile, back in Brisbane, I’ve finally made my first poetry subs of the year. I’m challenging myself with new themes — fewer graveyard poems this year; more poems about fury and desire. I spent this morning peeling drafts out from under the cat (of course she sat on whatever I was working on), and made breakthroughs with some tricky poems started last year. (Thanks to Bronwyn and Francis for critique time.)
I can also officially announce (last time I mentioned it, it was actually embargoed — whoops) that Salt and Bone was commended in the FAW Anne Elder Awards. Hooray! Congratulations to Cathy Altman for her winning collection, Circumnavigation (Poetica Christi Press). The judges, Anne Elvey and Garth Madsen, had the following generous things to say in their report:
Salt and Bone shows intelligent writing with a brilliant use of metaphor, poems that twist their way and are always surprising.
I’m currently rereading Jeanette Winterson’s Sexing the Cherry, which for me has always felt like a big velvet poem. Not that you ever really finish reading a poetry book, but Patricia Lockwood’s Motherland Fatherland Homelandsexual has continued to be rewarding and confronting. I also read the whole of Kristin Hannaford‘s Curio in the bath a little while back and it was a damn fine bath.
I also finally scored a copy of Woolf Pack‘s fourth issue, celebrating a year in print, and let me tell you it is a gorram ripper of a zine. I especially loved Dashurie’s gorgeous and empowering comic “Rise of the Merbabes”, editor Rebecca Cheer’s confronting personal essay “Vagina Christmas”, K. Queene’s Spice Girls collage and basically any image drawn by Talia Enright. You can find out how to buy a copy here.
This post shouldn’t end without saying I had the immense privilege of seeing Hot Brown Honey Burlesque at the Judith Wright Centre earlier this month. On a personal level, this cabaret burlesque combined exactly the right blend of rage and joy I needed that night. On a critical level, Queensland is so bloody lucky it is to have this performance collective making great art and fighting the power right here, right now. I wish I’d had the space in my work-life that week to write a thorough review (and to see it more than once), but I had cider and a dance-at-the-end instead. Hot Brown Honey Burlesque is technically polished, politically informed and artistically confronting. As always, hell yeah to the Judy for supporting challenging new work.
That’s about all from me. If, by chance, you’re reading this from London, my oldest and probably most genius-y friend, RAM composer Timothy Tate, has a show on at St. Marylebone Parish Church on April 22. Like on the Monopoly Board.