Tag Archives: Michelle Hamadache

Journal Blitz 2

I still have nearly a year’s worth of subscribed journals on my TBR shelf. Here some gleanings from a second catch-up binge.

Andrew Galan and David Stavanger (guest editors) plus Toby Fitch (Big Bent editor), Australian Poetry Journal Volume 8 Number 2: Spoken

This issue of APJ is in two parts: ‘Spoken’ comprises 42 poems intended primarily for performance – ‘Spoken Word’ creations; and ‘Big Bent Poetry’ is 19 poems commissioned to be read at a series of LGBTQIA+ events at literary festivals in 2018. Sound recordings of both sections are accessible at the Australian Poetry home page, australianpoetry.org.

The Big Bent poems may have been commissioned for performance, but they are mostly ‘page poems’, compressed, elegant, needing to be taken slowly; the Spoken poems are definitely ‘stage poems’, with declamatory rhythms and big gestures, one of them actually including stage directions.

I’m a long way from being a Spoken Word aficionado, but I love Bankstown Poetry Slam and was pleased to recognise a number of its stars here. Sara Saleh’s ‘InshAllah’ offers a multitude of meanings for that expression, of which my favourite is, ‘InshaAllah is the answer / when there are still questions but no answers to give.’ Ahmad Al Rady has a group of three short, tantalisingly oblique poems (on rain: ‘wet bullets crave the warmth of flesh’). In Omar Musa’s ‘Christchurch’, that earthquake-ravaged city is a setting for a break-up poem (‘I don’t believe in miracles any more, just bridges – some you walk across, some you jump from’).

There are strong Aboriginal voices, including Lorna Munro, whose ‘cop it sweet’ evokes the ravages of time on her inner city Aboriginal community, and Steven Oliver of Black Comedy fame, with a brilliant list poem, ‘Diversified Identity’.

Other poems that stand out for me are Emilie Zoey Baker’s ‘Hey, Mary Shelley’, in which the speaker imagines herself inhabiting Shelley’s body ‘like a flexible ghost’; Emily Crocker’s ‘the refrigerator technician’, a breakup, or near-breakup, poem full of sharp domestic metaphors; Tim Evans’s ‘Poem Interrupted by’, in which the speaker answers a phone call from the Abyss (this is the one with stage directions); and the anthem-like ‘Forget’ by the late and much-missed Candy Royale. The section ends with a photograph of a splendid graffiti mural at the Newtown hub featuring Candy Royale with a halo made up of the words, loving instead of hating, living instead of waiting.

Coming to this issue late means that I’ve actually read a couple of the Big Bent poems in books published in the meantime. It was a pleasure to re-encounter Tricia Dearborn’s ‘Petting’ and Kate Lilley’s ‘Pastoral’. Of the others, I particularly warmed to joanne burns’s shit-stirring in ‘a query or two’, which includes:

is there a point to getting grumpy
if you're addressed as 'sir' by
a sushi seller or a supermarketeer –
better than being addressed as nothing
or no one service is better for the sirs
of this world.

There’s also ‘(weevils)’ by Pam Brown (I don’t understand the title, but it’s a terrific poem); ‘my human’ by Quinn Eades (he’s the poet who appears in both sections – ‘my human’ is spoken by a dog); ‘A Song of Love’ by Omar Sakr; and ‘Bathers’ by Zenobia Frost (a longish prose poem that takes a Rupert Bunny painting as its starting point). There’s a lot of excellence to choose from.


Jacinda Woodhead (editor), Overland 232 (Spring 2018)

First thing you notice about this Overland is the stunning collages by guest artist Bella Li, especially the front and back covers – a great waterfall among skyscrapers, and oceanside apartment blocks bursting into flower. Bella Li’s artist’s statement can be read on the journal’s website, here. (Most of the contents of this issue can be read on the website. The titles here link to them.)

As always there are excellent columns by Alison Croggon (‘On memory‘ – ‘The human capacity for delusion isn’t so much a bug as a feature’), Giovanni Tiso (‘On remembering to back-up grandpa‘ – a touch of dystopian technofuture) and Tony Birch (‘On Kes‘ – the role of books and an imagined falcon in his childhood, plus a sweet present-day harking back).

Overland always includes the results of at least one literary competition. This time it’s the VU Short Story Prize and the PEN Mildura Indigenous Writers Award. The winner and runners-up for the former are all terrific: in How to disappear into yourself (in 8 steps) by Katerina Gibson the narrator juggles an internship, a paid job, motherhood, a possible new relationship, and cultural complexity, and the story stays lucid; in Dear Ophelia by Erik Garkain a trans man who works in a morgue speaks to a trans woman whose corpse he tends – it’s a little teachy, but I just now many of us need teaching; Nothing in the night by Ashleigh Synnott is a short, gripping, surreal piece which Bella Li’s collage illo suggests is set in a dystopian future, though I’m agnostic about that. Her eyes by Maya Hodge, winner of the PEN Mildura prize, takes that moment when you look into a baby’s eyes and understand something profound.

I’m always grateful for Overland‘s poetry section, currently edited by Toby Fitch. This issue has nine poems, of which the two that speak most directly to me are Peripheral drift by Zenobia Frost (who also got a guernsey in Big Bent Poetry, above), which begins:

Turns out you can still pash in a graveyard
at 28, though by now my fear of spooks
has faded into a more realistic fear of people

and Patternicity by Shey Marque, a terrific evocation of a tiny sandstorm that includes the wonderful word ‘apoidean’.

Of the articles, the ones I have been talking about compulsively are The bird you are holding by Ashleigh Synnott (who also appears as one of the VU Prize runners-up) and Against apologies by Joanna Horton. Each of them makes a case for keeping in mind our common humanity, or at least our common struggles. Among other things, Synnott provides brief literature survey of the concept of ‘precarity’, and Horton, while agreeing that talk of ‘privilege’ is useful, argues that apologising for one’s privilege is actually buying into neoliberal individualism:

We desperately need a politics that frames a comfortable, stable life, one as free from oppression as possible, as a right to be fought for, not a privilege to be denounced.

‘Making the desert bloom’ by Barbara Bloch is a trenchant criticism of the Jewish National Fund’s activities in the Negev/Naqab desert. Like Chris Graham’s ‘So much like home‘ in the previous issue, she draws parallels between the treatment of the Palestinians and colonialism in Australia, which chimes with my sense that Israel is not a special rogue case, but part of a planet-wide pattern.

I’ll just mention finally that I was delighted to read ‘Everything that is courageous & beautiful‘ in which Nell Butler argues that Paul Gallico should be brought back from obscurity – ‘from the dead’, she says. The Snow Goose, the book and the record of Herbert Marshall’s reading, was one of the joys of my childhood.


David Brooks and Elizabeth McMahon (editors), Michelle Hamadache (guest editor), Southerly Vol 77 No 3 2017: Mixed Messages

Southerly is a literary journal. I expect culture warriors of the right would say it was infected by the Gay-Marxist-feminist agenda, but it’s a broad church, with no avowed political leanings like Overland (or for that matter Quadrant, which I rarely read). David Brooks, retiring co-editor, has come out as seriously vegan, as has John Kinsella, who has a poem and a story i this issue. Yet Debra Adelaide’s story, ‘Festive Cooking for the Whole Family’, makes a cheerful mockery of vegans, among others, as her Christmas hostess wrestles with the complex dietary and other demands of a large family gathering.

David Brooks’s article ‘Seven Gazes’ (for which I broke my rule not to read anything that mentions Derrida in the first sentence) wrestles with the challenge of moving outside the human bubble to understand what is happening in the Gaze (his capitalisation) of ‘non-human animals’, and if he is aware that there’s something potentially risible in leaving the door of his house open so the sheep can drop in, he gives no sign of it; John Kinsella’s ‘Roaming the Campsite’, a sharp short story told from the perspective of a neglected child, doesn’t push any belief system, and his poem ‘Graphology Soulaplexus 36: loss’, despite its hi-falutin title, is a straightforward and beautiful elegy.

One pleasant surprise is ‘Poetic Fire’, an article written by Thea Astley when she was a school student, reproduced here because Cheryl Taylor has an article about Astley’s novels that refers to it, and the editors have kindly made it immediately accessible. In these days when schoolchildren are playing a major role in fighting for action on climate change, it’s good to have another reminder not to patronise the young. (I broke another rule, not to read Eng Lit scholarly articles about books I haven’t read, and read Charyl Taylor’s article: her use of the school-student essay is deeply respectful.)

Among other excellent things are ‘Fresh Food People’ a short story by Nazrin Mahoutchi about a small, diverse group of migrants in a food preparation business. I broke another rule (not to read excerpts) and read Peter Boyle’s ‘Excerpts from Enfolded in the wings of a Great Darkness‘, a tantalising seven pages from a long poem in progress:

who picks among
the clothes left
by those stripped bare
for mourning

Who rinses their hands in
water that can no longer
cleanse

Who goes to hear
the hymns of forgiveness
but clutches in one hand
the prayer beads of vengeance

S K Kelen’s ‘More Words: Uses for a Father’, a joyous list poem that does what the title says, speaks to my condition as a new grandfather, though ‘cricket bat whack kick / box new fun’ isn’t on our agenda just yet.

And that’s all from me. Thanks for persisting to the end. I expect to do a ‘Journal Blitz 3’ post, but not for a little while.

Journal Blitz

I just realised with something like horror that my To Be Read shelf contains at least a year’s worth of unread journals. So here goes with what I intend to be the first of several catch-up posts, each following a catch-up reading binge.

Gig Ryan (guest editor), Australian Poetry Journal, Volume 8, Issue 1 (2018)

In her Foreword to this issue of APJ, guest editor Gig Ryan, herself a formidable poet, writes:

No poems here can be straitjacketed entirely into any one category, as each poem, being its own summation, is also necessarily an experiment, an exploration, kicking towards the impossible.

The same is true of the journal as a whole. It’s not a directory, a survey or a sampler; there are no thematically labelled sections, or indicators of hierarchy. It reads like a mildly chaotic conversation among more than fifty word users, which the reader is invited to enter.

There are many excellent poems, some by poets I already know and love, some by people who are new to me. I’ll just mention one that has stuck with me: Andy Jackson’s ‘No Lament’, which is a response to Judith Beveridge’s sonnet, ‘Quasimodo’s Lament’. The latter poem looks at Quasimodo (‘The Hunchback of Notre Dame’) from the point of view of an able-bodied person, the former from that of someone with a physical ‘deformity’. Jackson’s poem begins with the first word of the equivalent line in the Beveridge’s. It’s not a calling out, but a ‘departure’, and the effect is to open up a profound dialogue between the two points of view. Here are the first four lines of each:

From Judith Beveridge’s poem:

Crazed carillonneur, will you ever stop hauling
yourself into the cathedral’s dim vaults?
Will you ever stop imagining Esmeralda’s hands
running along the canted bones of your spine
(from 'Quasimodo's Lament', Meanjin 2017, on the web here)

From Andy Jackson’s ‘No Lament’:

Crazed? – only the mob in us deserves that word.
Your self, your body, calm and attentive at the rope,
will always draw out those strong and slanted notes
running across every imperfect surface.

There are half a dozen essays, including an interview by Matthew Hall with the editors of Lionel Fogarty Selected Poems1980–2017 (re.press 2017), which is surely of interest to anyone who cares about contemporary Aboriginal poetry. There’s also an essay by Duncan Hose on John Forbes, marking the 20th anniversary of his death, which includes some close reading; and a discussion of rhyme by Dennis Haskell.


Jacinda Woodhead (editor), Overland 230 (Autumn 2018)

I read this Overland selectively, skipping articles that looked at first blush to be about where the universities are getting it wrong, or arguing that, say, the marriage equality Yes movement wasn’t radical enough. So who knows what I have missed?

Here are some wonderful things I didn’t miss:

In ‘On Jack Charles‘, Tony Birch writes that for Aboriginal people, ‘sovereignty – an imposed colonial concept – is a complex and contradictory notion’, and as a way to understanding what Aboriginal sovereignty might mean quotes Jack Charles as saying that ‘he could not walk by a person in need – any person in need – as an Aboriginal man claiming the right to Country’. It’s not often you stumble across such profundity.

I wouldn’t want to skip the regular columns by Alison Croggon (On seeing in this issue starts from her extreme myopia and goes to surprising places) and Giovanni Tiso (On writing while foreign: ‘the effortless travel of our writings across the global marketplace of late capitalism is the grotesque mirror image of the hardening of the boundaries between nations and people’).

Overland always includes the result of a literary competition. In this one, it’s the Nakata Brophy Prize for young Indigenous writers. The first prize, ‘haunted house‘ by Raelee Lancaster, counterposes two traditions (European an Indigenous) of ghost stories in a way that creates plummeting depths beneath an apparently simple surface.

There are other excellent poems, including Allotment #10, by Laurie Duggan, an addition to one of his long-running series.

Decades ago, a flatmate of mine had a poster on his wall that compared the situation of Aboriginal people living in remote communities with that of Palestinians. ‘So much like home‘ by Chris Graham spells out the parallels: things have not improved markedly for either group. ‘Israel,’ Graham writes, ‘ has built a blunt, overt system of apartheid; Australia has built a polite, covert system of apartheid.’

Of the four short stories, the two that most claimed my attention both dealt with the ethical questions that arise when you mistakenly give something you have no right to. Baggage claim by Paddy O’Reilly and Tea ceremony by Michelle Aung Thin both this murky area, the former with youthful corruptibility in its sights, the latter with something more nuanced but no less grim.


David Brooks and Elizabeth McMahon (editors), Michelle Hamadache & Christopher Cyrill (guest editors), Southerly Vol 77 No 2 2017: The Long Apprenticeship

Southerly is the journal of the English Association, Sydney, which means it’s formally tied to EngLit academia. Given that, and the title of this issue it’s no surprise that there are a number of essays and fictions here about the long haul of learning to write, or just the long haul of life:

  • Desmond O’Grady on Muriel Spark’s nurturing times in Tuscany as a young woman
  • Elizabeth Hanscombe on how her writing career has been spent exploring events from the past that ‘appear to have a beginning and an end’ (‘They do not’)
  • Carol Lefevre on the nature writer J A Baker and his influence on her own career, quoting Richard Jefferies somewhere on the way, ‘The earth is all in all to me, but I am nothing to the earth: it is bitter to know this before you are dead’
  • James Bedford’s touching memoir of his father, with beautifully deployed family snapshots/

There are works from people at the start of their creative careers. The striking cover is a detail from My Contemporary Tribe, created by Phoebe Martyr when she was a high school student in 2016 (you can see the whole work here). There are three short stories by students at the Sydney Story Factory.

There’s a glorious wealth of poetry and short fiction, including some in translation. George Toseki’s ‘Finger Bun’, in which baklava is deployed to great effect as a peacemaker among factory workers from a range of ethnic backgrounds, gets my guernsey for the most fun. Invidious though it is, I’ll mention just one poem, joanne burns’s ‘lemon aid’ for the fabulous word comatoastie.

Of the reviews, I’d pick Lachlan Brown’s of Melanie Cheng, Australia Day (2017), which places the book in the context of ‘the contemporary succession of engaging and innovative collections of short stories by Australian writers from diverse backgrounds’.

The most challenging article for me is John Kinsella’s ‘Reading and (non) Compliance: Re-approaching the Text’, which – to attempt a crude summary – urges EngLit teachers to always incorporate creative writing into any teaching of poetry, by encouraging what he calls non-compliant reading. Not being part of the EngLit academy, I can’t tell whether his proposal is as radical as he appears to be claiming, or commonplace, or way out in the top paddock. One paragraph, though, came to me like a clarion call, an urgent challenge for me as a blogger about texts. I’ll give it the last word in this blog post:

A text is a living entity and should be teated as existing contingently and contiguously within and with a vulnerable ecology that is under threat, a biosphere that is collapsing due in no small part to human behaviours – especially corporate and state exploitations of the fragile, remaining ‘natural’ habitats. No text, whatever it is, can be read outside this context of damage.