I used to call these posts Journal Blitzes, but there’s nothing very Blitzy about them. Just two journals this time: an Overland from a year ago and a Heat just one issue back.
Evelyn Araluen and Jonathan Dunk (editors), Overland 243 (Winter 2021)
(Much of the content is online at overland.org.au, and I’ve included links)
This issue of Overland opens with a suite of excellent articles:
- Coming through ceremony, a brief insider’s history by Kim Kruger of the Melbourne-based Aboriginal theatre company Ilbijerri, which celebrated its 30th anniversary last year
- A teleology of folding, and of dying by Dženana Vucic. Don’t be put off by the high-philosophic title. This is a lucid personal account of the complexities of being a white Muslim – a child refugee from Bosnia – who is now atheist and hipster-presenting yet still identifies viscerally with Muslims worldwide who are facing something akin to the Nazi holocaust
- The bridge and the fire by Robbo Bennetts, published before the terrible floods of 2021–2022, and perhaps written before the terrible fires of 2020–2021, reflects on the effects of two disasters he has been close to: the Westgate Bridge collapse in 1970 and the Black Saturday bushfires in Victoria in 2009
- Torrey Peters Detransition, Baby, in which trans person Yves Rees reviews a novel that has a Sex and the City frothiness, but whose ‘window onto transfeminine interiority is nothing short of revolutionary’. Recommended reading for anyone struggling with their inner TERF.
In a welcome return to tradition, this issue includes the winner and two runners-up of a literary prize. The inaugural Kuracca Prize for Australian Literature, established by Overland in honour of the late Kerry Reed-Gilbert, is open to all Australian writers for fiction, poetry, essay, memoir, creative non-fiction, cartoon or graphic stories, and digital or audio storytelling. The winner this year is a short story, the runners up are a poem and a personal essay.
There’s a generous eight-page poetry section, and three short fictions, of which the stand-outs are ‘Tight lines’ by Allee Richards, a tale of the collateral pain when the main character’s relationship with a child is brought to an end by the ending of a relationship with the child’s father; and see you later by Zowie Douglas-Kinghorn, a vivid evocation of work on a dairy farm, which most satisfactorily brings up to date the genre of workplace short stories.
Alexandra Christie (editor), Heat Series 3 Nº 1 (Giramondo 2022)
Heat is back from hiatus. Series 2 Nº 24 was published in 2011 (my blog post here) with no promise of a return. Now here is Series 3, slimmer, with a new look and a new editor, promising to appear every two months and – in my opinion – well worth the annual subscription price of $120 (slightly more for individual copies). My sense is that the new, intimate format is better suited than the previous, book-sized issues to the limited attention spans of our image-dominated era – there’s also a deft use of images.
This issue, introducing a minimalist design by Jenny Grigg, kicks off with a one-page linocut by Ben Juers, which works mainly as a reminder that Heat has in the past included substantial sections of visual art. The main body is made up of:
- ‘Only one refused’ by Mireille Juchau, a Heat veteran. The essay tracks down the story of a family member who survived the Nazi camps, and makes dramatic use of illustrations, including a double page spread of the ‘Hollerith card’ that recorded her relative’s physical features, and a photograph of ghostlike women recuperating in the Mauthausen infirmary soon after liberation (This article is on the Heat web site, at this link)
- ‘Special Stuff’, a grim short story by Josephine Rowe, featuring a woman, man and baby doing a futuristic equivalent of ‘duck and cover’, seconds before a nuclear explosion
- Five poems by Sarah Holland-Batt, all dealing with the death of parents. I’m especially glad to have read these so soon after hearing SH-B read at the Sydney Writers’ Festival (my blog post at this link). If these poems, especially ‘Pikes Peak’, are any indication, her latest book, The Jaguar (University of Queensland Press 2022), is definitely something I want to read
- ‘Brief Lives’ by Brian Castro, a kind of Decameron for readers with short attention spans, blended with a lament about ageing, with raging bushfires as a backdrop
- ‘Death Takes Me’, fiction by Hispanic USer Cristina Rivera Garza, translated by Sarah Booker and Robin Myers, an esoteric variation on a police procedural that opens with a quote from Renate Saleci to the effect that castration is a prerequisite for sexual relations, and does nothing to allay the scepticism the quote provokes.
Number 2 is waiting on my shelf, and I’m looking forward to reading it.
PS: There’s a word in the Heat that I need help with. In the Brian Castro story, there’s this, speaking of an ageing writer taking refuge in a guesthouse with a number of other people:
He thinks. He thinks too much. Never sleeping. Now that Eros is held in liam in the other room, he fades into ancient tapestries.(page 69)
What does ‘liam’ mean? Or is it Iiam (that is, does it begin with a capital ‘I’ rather than a lower case ‘l’? Given Heat 2’s propensity for typos and malapropisms, it may be an error. But if so, what is the correct word? All answers welcome, even correct ones.
Thanks muchly for this review of two Aussie journals. Pleased to see Heat return, tho gotta say the publishers do little to encourage readers back – one dense essay avail online and not much else to evaluate; Sarah Holland Batt’s poem Pikes Peak does appear in Jaguar (I presume the other four do also) – and the journal is still not available in electronic form for subscribers who prefer the screen to the rain-soaked post box or the dusty bookshelf.
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I see your point, Peter, but for odd bods like me who p[refer the rain-soaked, dusty or even dog-chewed object, the handy size of this generation of Heat is very attractive