I attended a spate of literary events this month, and margins, specifically writing from the margins, was the through line in ideas that spoke to me.
At the Bendigo Writers Festival, I was lucky enough to listen to poetry readings and discussions between Claire G Coleman, Izzy Roberts-Orr, Jazz Money and Sara M Saleh. I'm still pinching myself about that lineup! The session was moderated by Cec Shanahan.
There was a brilliant thread of conversation between panel members after Jazz Money shared thoughts, and this is not a direct quote, on how contemporary poetry that is alive and does interesting things with form and language is often written by those from the margins. Others wholeheartedly agreed.
Being excluded, disregarded or strategically undervalued not only influences the lens through which one sees the world, it also makes the desire for expression, and the need for precision in that expression more urgent.
And that may mean tearing apart the language of the coloniser, as Saleh does in her poem ‘French Facelift’, from her collection The Flirtation of Girls, or exposing its violence, as Coleman does in her poem ‘Strawberry Juice’.
The closing event of the festival was a conversation between Alexis Wright and Yves Rees. I was deeply inspired by Wright’s unwavering trust in her vision and refusal to allow others to tell her what to write or to define what ‘Australian’ writing is. Instead, she reads widely from across the world and learns from her Indigenous culture. I have noted the book The Earthly Community (2022) by Achille Mbembe that she mentioned having recently read.
I can't wait to get stuck into Wright's Praiseworthy (2023), for which she won the Miles Franklin Literary Award and Stella Prize this year. I was introduced to Wright’s work by Ilka Tampke, who shared extracts in a couple of subjects I took with her, specifically to speak to Wright’s non-linear approach to time. What a beautifully synchronous encounter then to bump into Ilka on my way out of the event. Generous as always, she gave me a gentle nudge and encouragement to continue with my manuscript.
So, what of writing or opining from the centre? Ask Roxane Gay. I attended her event last week. She was in conversation with Jan Fran. I had previously heard, and enjoyed, Gay in conversation with Jamila Rizvi in 2022. However, what Gay has to say now no longer feels relevant to the times and the person I've since grown into, with a more critical view of the world and the interconnectedness of many issues.
A criticism Gay admitted to taking on board was about writing from the centre. She claims to be aware of the need to write from the margins (turns out she also said as much in this Guardian article), but she is clearly yet to do this. She is most comfortable speaking on feminism and fat activism. She disappointed on issues such as Palestine, the Democratic Party’s complicity in the genocide and even gun ownership. Gay is nowhere near the margins; she sits squarely, and comfortably, where she landed at birth — the privileged middle class, and I'd say, a little right off centre.
Lately
Where I harp on about reading and drawing and writing
I love the comic community that I accidentally stumbled into. I honestly feel like a hack, but you wouldn’t know it from the abundance of support and friendship I have found.
Earlier this year, Michael Fikaris reached out to me (and 99 other friends) and asked if I’d like to draw a take on their character ‘The Worker’ for a book and exhibition. I said yes! It felt scary! At times it felt impossible (the deadline was not long after my estimated post-surgery recovery time was up).
But that’s all in the past now!
Fikaris’ exhibition is on until 15 September! Catch it at Backwoods Gallery — 25 Easey Street, Collingwood.
New Australian Fiction (2024) is out now! Edited by Suzy Garcia, it is the sixth annual Kill Your Darlings short story anthology.
Pick up a copy from your independent bookstore or order it online! I can’t wait for the launch in a couple of weeks, featuring readings from contributors Jumaana Abdu, Aisling Smith and Paige Clark.
I had the great pleasure of being submissions reader again this year.
My review of Elif Shafak’s new novel, There are Rivers in the Sky (2024) is out in the latest Big issue (issue 719). Grab a copy from your local vendor.
Did you know that vendors often have back issues on hand? That means you can pick up issue 718, the fiction edition, while you’re at it!
If you don’t have a vendor close by, TBI now have an online shop where you can make one-off purchases of issues of your choosing.
Raptorial Writes
A monthly writing prompt
Cast your mind back to the days before virtual meetings, when teams met with biscuits, instant coffee and electronic whiteboards. Write a scene where one staff member is feeling unvalued. On the agenda is health and safety, planning the imminent team-building event, and brainstorming a new name for the organisation’s intranet.
Set a timer for 25 minutes and write!
I’d love to know how you go! Post your story to Instagram using #RaptorialWrites, or share it in the comments here. Happy writing!
Raptorial Bites
A monthly short story book
This month’s read is Tessa Hadley’s Vincent's Party. It was published in the July 1, 2024 print edition of The New Yorker. If you prefer audio, here's Hadley reading her story: