Tag Archives: Nardi Simpson

Sydney Writers’ Festival 2025: My day one, part one

It’s raining in Sydney, but the Writers’ Festival shines on, apostrophe intact.

This year’s theme is ‘In This Together’. The Emerging Artist and I plan to take in about 17 sessions between us, mostly in it together. Given recent attacks elsewhere on speech about the genocide in Gaza, I will be disappointed but not surprised if some of our booked sessions are cancelled, but here’s hoping. 

22 May 1.00: Beyond the Self (link to come when podcast is released)

The Festival website description of this session begins:

Anchored in our human body, our experience of being in the world extends outwards from our sense of self.

Oh well, I thought, the program descriptions don’t usually determine the conversation.

The four panellists have written very different books, and come from very different contexts. What they have in common is that they are all First Nations people. The chair was Bardi Jawi man Bebe Oliver, who first came to prominence as WA Young Australian of the Year for his work as a classical pianist and composer has had several books of poetry published. Other panellists were Bundjalung and Kullilli man Daniel Browning who has worked as a journallist and broadcaster for many years, and has recently published Close to the Subject, a collection of personal essays; Kaurareg Aboriginal and Kalkalgal, Erubamle Torres Strait Islander man Thomas Mayo, who played a huge role in the Voice referendum and whose books, especially Always Was, Always Will Be: The Campaign for Justice and Recognition Continues, reflect his activism; and Yuwaalaraay woman Nardi Simpson, originally half of the singing duo Stiff Gins, and now author of Song of the Crocodile and The Belburd.

Nardi Simpson made a valiant attempt to tie the conversation back to the idea of bodies – go out from my body to yours when I sing for you, and when I write a book, these funny little squiggles on an oblong thing can make other people tingle. But mostly the yarning (as Bebe called it a number of times) ranged freely. All four panellists had interesting things to say, and they connected with each other, but I’m at a loss to summarise.

One theme that emerged for me was to do with aurality. Paradoxically, Daniel Browning said that for years he had sat in climate-controlled studios in the ABC talking to a microphone with little or no sense (and I may have added the ‘little or’ there) that there was anyone listening, whereas when he wrote an essay, he had an immediate sense that he was talking to someone. Spoken words are transient; written-down words have power. Nardi Simpson reported more or less the opposite: when you sing to an audience you’re right there with each other, but who knows what happens with a book? Thomas Mayo, likewise, said that he has come to love speaking to people (he did a lot of that, brilliantly, during the Voice Referendum campaign) – looking them in the eye, and if there’s a disagreement you can see it there. Nardi Simpson made explicit the underlying notion, that First Nations people come from an oral culture, and she and Daniel Browning told moving stories about audio versions of their books reaching people who wouldn’t otherwise have read them.

What all panellists agreed was that we are living in a time in this country when First Nations stories need to be told, and there is an audience for them. ‘If I/we don’t tell the stories, someone will say it didn’t happen.’

There was a brief conversation about the experience about being misunderstood, including very different feelings about the editing process. Nardi Simpson spoke directly to one of my current concerns when she said (and this is not an exact quote): ‘The book is there. Yuwaalaraay will find this in it.Aboriginal people will find this. Allies will find this. People who nothing about me or us will find this.’

2.00: Bringing the Past to Life (link to come when podcast is released)

The incomparable Kate Evans, co-presenter of The Bookshelf on ABC Radio National, did a lovely job managing this conversation about historical fiction with Emily Maguire whose latest book, on my To Be Read Soon list, is the novel Rapture, and Jock Serong, whose urban fairytale Cherrywood sounds terrific – I have seen a narration of its plot hold a seven-year-old spellbound.

Somehow a novel based on the 9th century CE legend of Pope Joan (or is it only a legend?) and one about a hotel in Fitzroy that lifts its skirts and wanders around the city made an excellent pairing. They both, it turns out, deal with institutions that have forgotten what they are here for. The Catholic Church in Maguire’s book is so concerned with its rituals and procedures that it has lost sight of its central mission. The corporate law firm in Cherrywood is hell bent on tracking down the wandering pub, but only one old man whom everyone ignores remembers why.

It was fun.


The Festival is happening on Gadigal land, I have written this on Gadigal and Wangal land. I acknowledge their Elders past present and emerging. As Bebe Oliver said in acknowledging country this afternoon, Always was, always will be Blak land.

SWF 2023: My third day

I’m not exactly live blogging the Sydney Writers’ Festival. It’s now Sunday and my festival is over, but the blog is still at Thursday.

On Thursday, we arrived an hour or so before any of our booked events and caught up with friends over lunch, then we were off.


2 pm: Climate Hope

This was billed as: ‘a trio of environmental experts examine promising developments, signs of hope and viable solutions for a greener, more sustainable future.’ It delivered on that promise.

Simon Holmes à Court, founder of Climate 200 (tagline ‘climate proofing politics’), was the chair. Other panellists were a scientist, an engineer and a community activist: Joëlle Gergis (Humanity’s Moment: A Climate Scientist’s Case for Hope), Saul Griffith (The Big Switch and the Quarterly Essay The Wires that Bind), and Claire O’Rourke (Together We Can: Everyday Australian’s doing amazing things to give our planet a future).

There was an awful lot to digest, or even grasp as it flew by. I hope it will turn up as a podcast – I recommend it.

Here are some of my takeaways:

Jöelle Gergis described how, after helping to write the IPCC report on the state of the climate, she was filled with despair. Technological solutions are pretty much all there, but there is little political will to implement them. This is no longer a scientific problem; it’s a social, cultural and political one. She found hope in looking to history. Many times in the past when there has been a major crisis, people have come together and created solutions. She gave a number of examples, but what I remember is Saul Griffith’s amplification of her point by mentioning Dunkirk: the Allied forces had been roundly defeated, and then Winston Churchill, who can be criticised on many fronts, inspired what could have seemed an irrational hope with his rhetoric (‘We will fight them with teaspoons’ – not an actual quote as far as I know), and the people famously rallied.

The motto ‘Reduce, Re-use, Recycle’ doesn’t point to the way out of the climate emergency. It puts the onus for action at the individual level, when what is needed is systemic change (though individual initiatives are important to achieve that). It can be paraphrased as, ‘If we just sacrifice a little, the world will be a little bit less fucked.’ (Numerous apologies for swearing were made to Saul Griffith’s mother who was in the audience, though if she’s anything like women I know who are mothers of people Saul Griffith’s age, she swears quite a bit herself.) in reality, if we do this right, we can get a good outcome and not sacrifice any of our standard of living.

Claire O’Rourke is already active in the social movement space. She gave example after example of ordinary people who have taken action and organised to bring about change at local and regional levels.

There were some great quotes:

Claudia Rankine (link to my blog post about her Citizen): ‘Every state of emergency is also a state of emergence.’

Bill McKibben (link to my 2007 blog post discussing his Deep Economy): ‘Winning slowly is losing.’

Rebecca Solnit (link to my blog post about her Hope in the Dark): ‘People today will determine the future of humanity.’

Saul Griffith recommended that each of us makes six big decisions about our lives in the next year in order to bring about systemic change: decisions about home heating, cooking, cars, nutrition and so on. Just a handful of major decisions, he means, not the hundreds of decisions involved in ‘lifestyle changes’.

Claire O’Rourke mentioned systems theory, said change happens most effectively through networks and recommended the All We Can Save Project.

Jöelle Gergis had the last word: The missing piece is a social movement.


I rushed off to arrive late and sit at the edge of the space set aside for ‘curiosity Lectures’ and ‘Beginnings’, the latter being sessions where people read the beginnings of books to the audience:

3 pm: Benjamin Gilmour on Taking Tea with the Taliban.

Among other things, Benjamin Gilmour is notable for the extraordinary film Jirga (2019), which he wrote, directed and shot in a tribal area of Afghanistan. He recently revisited Afghanistan for a new film documentary project, which if I heard correctly is to be called Taking Tea with the Taliban. In this Curiosity Lecture he told about interviews with members of the Taliban government and his time with villagers who told him of terrible brutality at the hands of Australian soldiers.

It was disturbing stuff. He relayed the Taliban’s protestations that the way they are portrayed in the western press is self-serving propaganda, that their treatment of women is misrepresented, and that it’s hypocritical for the west to condemn the Taliban for mistreatment of women when USA and Australian forces have destroyed so many Afghan lives, of women and children as well as men.

I couldn’t help thinking of those Australians who visited Stalin’s Russia and came back with glowing reports of happy workers at times when, it was later revealed, the gulags were filling up. All the same, he made a strong argument for governments to engage with the Taliban. ‘I did,’ he finished his talk, ‘and I’m just some guy.’

Benjamin Gilmour has a special place in my heart: we published a number of his poems in The School Magazine in the 1990s, when I was editor and he was a teenager. I introduced myself and we had a photo taken together. I’d share it here but I made the mistake of lowering my mask instead of taking it off altogether, and I look mildly deranged.


Then straight on to 4 pm: George Monbiot: Regenesis

A giant George Monbiot on video chatted with Rebecca Huntley. This was a brilliant talk. Monbiot’s ability to marshal facts and present a clear argument is breathtaking.

His central message was that the global food supply system is at risk of catastrophic failure. Not only that, but farming is contributing hugely to global warming. Second only to the urgent need to keep fossil fuels in the ground is the need to stop farming animals. It’s as if the scientists who have been researching this area have been shouting and waving their arms about, but have been doing it from behind plate glass, inaudible to the rest of us.

Although world hunger fell steadily from about 1960, in 2014 it began to rise again, and has been rising steadily ever since – even before the shocks to the food supply system that were Covid-19 and Russia’s invasion of Ukraine. This is because the food distribution system now works in such a way that even small shocks to the system can cause disproportionate price hikes in vulnerable communities.

He gave us a brief introduction to systems theory. Complex systems, such as the climate or the global food supply system, take a lot of understanding (and after this talk, I’m keen to learn more). There are six elements required for a complex system to be resilient:

  • diversity
  • asynchronicity
  • redundancy
  • modularity
  • circuit breakers (in this case regulatory constraints)
  • back-up systems

I imagine his book Regenesis spells out how the food system scores on these elements. From the talk I understood that concentration of the control of food in about four massive corporations makes for low resilience. Industrial farming likewise. Redundancy is so limited that if the Ever Given had been stuck in the Suez Canal a year earlier, when Covid was at a different stage, the result would have been disastrous.

It’s not a question of tightening our belts. He sees hope in technology, in what he calls a technoethical shift: when something becomes amendable it becomes intolerable. That is to say, if a food can be developed that has the nutritional value of meat and it’s flavour, texture and general appeal, we will be able to face the reality of what our meat-eating has been doing to our relationships with other animals and to the planet.

The technology that he favours is ‘precision fermentation’, in which single cell organisms are used for food: we already do it with yeast, and many other species are being explored. A naturally occurring pink microbe has been discovered in Europe that when grown in a culture looks, feels and tastes like sausage. He himself was the first person to eat a pancake grown from microbes – ‘One small flip for a man’ – and it tasted like a pancake. He surmises that this will lead to a culinary revolution as radical as the one produced by the development of agriculture. And food produced in this way uses a tiny fraction of the earth’s resources.


We went home for a vegan dinner, then caught public transport into town for our one event not at the Carriagework:

8 pm: Storytelling Gala: Letters to the Future

Not to cast shade on any of the readers or organisers but this ‘gala’ was a bit of a dud. A stellar line-up of writers got to read to a packed Sydney Town Hall. They had evidently been given the title ‘Letter to the Future’. Most of them gave us a piece that began, ‘Dear Future’, and too many wrote what could be summarised as: ‘Dear Future, we have fucked up the world. I expect Earth is posthuman/a disaster where you are. Please forgive [or forget] us.’ After hearing someone say in the 2 o’clock session that people find it easier to imagine a disastrous future than one where the problems have been solved, it was dispiriting to hear so many people take the easier path as if they were doing something serious.

There were exceptions.

Anthony Joseph (about whom more tomorrow) read two poems in a form known as the Golden Shovel, where the last words of the lines spell out a quotation. His first one took Kierkegaard’s ‘Life can only be understood backwards; but it must be lived forwards’: I was too busy trying to spot the line breaks to follow the poem, but it sounded great.

Shehan Karunatilaka spoke elegantly about the impossibility of the task and told a fable about a child refusing a hug to her father, thereby setting of a chain of events leading to disaster.

Nguyễn Phan Quế Mai wrote an imaginary letter from her ten-year-old self, bookended by fabulous a cappella song.

Jason Reynolds also read a letter from his past self: I found it hard to follow, but his performance was fabulously musical.

Nardi Simpson rejected the idea of the future, saying that as a First Nations person she has responsibilities to Now. It was striking how she echoed Alexis Wright’s talk on the opening night.

Tabitha Carvan got the only laughs of the evening with a comic bit about a leadership course where on the first meeting the participants wrote a letter to their future selves.


It was a day full of excellent things, and things that will bear thinking about and acting on for some time.

SWF 2021 Saturday

I had three events on my second day at the festival.


10 o’clock: Your Favourites’ Favourites: Tony Birch & Evelyn Araluen.

‘Your Favourites’ Favourites’ is series of events where an established writer interviews the author of their favourite Australian debut from the last year. This was the only one of the series that we attended. It’s a terrific idea, and this pairing must have delighted whoever thought of it.

Tony Birch is not only an established writer, he’s also a seasoned interviewer of other writers, and a passionate and articulate reader. Evelyn Araluen is not only a debutante poet, she’s also among many other things co-editor of Overland magazine. Tony Birch has not only read her poetry, he has been edited by her. They know each other well, and were radiantly at ease with each other in this session, their deep mutual respect not excluding some friendly teasing. After introducing Evelyn as a formidable presence in Australian literary circles and beyond, Tony asked her, ‘Have I pumped up your tyres enough?’ She said it was a bit embarrassing to be described like that when her parents were in the audience. He said her father had had a quiet word to him before the session.

This friendly banter provided a leaven for a weighty conversation. Tony quoted Evelyn as saying in another context, ‘We are reclaiming this place through poetry,’ and asked ‘How so?’

I recommend listening to the whole conversation when it comes out as a podcast. What I’ve managed here is a rough and partial account.

Australian national identity, she explained, is a literary construct. As scholar George Seddon said, ‘The English language is a filter over the Australian landscape.’ Evelyn said, ‘Whiteness does not understand itself in this landscape.’ Non Indigenous writers tend to go for the Gothic (Marcus Clarke comes to mind) or the cute (the work of May Gibbs features large in Evelyn’s poetry), both of which erase black presences. Both conservative and progressive white writers generally fail to get further past the erasure than shallow acknowledgement. Tony Birch quoted Anita Heiss: ‘You can’t just speak language. You have to think language.’ That is, Aboriginal people also have work to do to reclaim the place from colonising language.

Tony asked Evelyn what she had meant when she said on the festival’s opening night, ‘I’d like to write happier poems but there isn’t time.’ This prompted her to talk about the climate emergency and the responsibility of poets to address it. So most of her poems are angry and urgent (I think that’s what she said, and from what I’ve heard at readings I’d agree, but add ‘funny’). There is a place for poems, and art in general, that allows us to pause, to rest so we can go on facing our responsibilities, but for Aboriginal poets there is a need to be constantly asserting our existence, survival and resilience.

At Tony’s request, Evelyn read to us. ‘See You Tonight’ evokes an uneventful, peaceful moment of family life. It was written during Melbourne lockdown after eight months of not being able to see any of her own family. No one was surprised when, after the final words, ‘It’s all good. / I will. I will. I will,’ she raised her arms in triumph and said, ‘Got through it without crying!’ (I wiped a tear from my eye even though we hadn’t yet been told the circumstances of the poem’s composition.)

‘This is not a cancel culture book,’ she said.

There were two questions, one from another poet that moved the conversation into academic territory, with words like ‘liminality’ and ‘positionality’, and one from Evelyn’s father – we knew this because as he approached the microphone she shed at least 10 years and almost squealed, ‘Oh, Da-ad!’ He used his platform to draw our attention to all the powerful Black women who are central to First Nations life and activism – and didn’t embarrass his daughter at all.


12:30 pm: Whose Country Is It Anyway?

Nayuka Gorrie is a Gunai/Kurnai, Gunditjmara, Wiradjuri and Yorta Yorta freelance and comedy television writer. This is one of the events she organised as Guest Curator at the Festival. She was in conversation with Melissa Lucashenko, author of Too Much Lip (my blog post here) among other books, and Nardi Simpson, author or Song of the Crocodile. (At one stage Tara June Winch was advertised as appearing zooming in from France for this session, but that wasn’t to be.) They were there to talk about the craft of writing Country.

As you’d expect, the conversation ranged widely. At the end of it I was keen to get hold of Nardi’s book, because a lot of what she said was tantalisingly hard to grasp. For example, ‘We inherit a never-ending process of belonging. Whose country? It depends on where you’re standing. You can create a relationship to a place that’s important to you, but it could be completely different for someone living 200 metres down the road.’

Melissa quoted Paul Kelly’ ‘Writers pay attention.’ She said there are two kinds of writers – the big, loud, macho writers (who can be women), and the quiet ones who pay attention. Her implication was that quiet attentiveness is the pathway to writing Country well. She talked about ‘extraction’ as key to the ‘western project’, and contrasted it to ‘reciprocity’.

Melissa again: It’s a writer’s responsibility to write the truth of violence without doing violence to the reader. There’s a place for writing that lashes out about injustice and cruelty, but we must write about life as much as death, otherwise we’re invading ourselves.


We did our Covid Check-out from Carriageworks to have lunch at a nearby pub (hamburgers with those horrible brioche buns), then back for our afternoon session.


2:30 pm Faruqi on Faruqi

This was a mother and son act: Senator Mehreen Faruqi and journalist Osman Faruqi. As with Tony Birch and Evelyn Araluen, there was a lot of good-natured teasing. “When I was in labour, I fervently hoped that I would have a girl.’ ‘We are a family of engineers. I so wanted him to be an engineer, and look what he’s become – a journalist!’

Sally Rugg as moderator didn’t have to do very much. She signalled at one point that it was Ok to broaden the conversation out by asking them about their theories of change. I don’t know that either of them directly addressed the question, but they took the hint and what followed was a very interesting conversation about the role of parliament and politicians in bringing about change – both of them agreed that real change came from the community and the political class played catch-up.

Both Faruqis have books coming out later this year. Mehreen’s is a memoir and manifesto, to be called Too Migrant, Too Muslim, Too Loud. Os is writing a book about racism in Australia. He would love to go back to writing music reviews, but has things he needs to get out there about racism. White friends say to him, ‘Why do you make everything about racism. When are you going to move on?’ He says, ‘You’re the ones who made everything about racism. I’ll move on when you do.’ (He probably said it better than that.)


Then we were off to the bookshop, to a number of catch-up conversations with friends we tend to see only at events like this, and to walk home on a beautiful Sydney autumn afternoon