Google+ Followers

Thursday, August 28, 2014

The 2014 Adrien Abbott Prize CLOSES SEPTEMBER 1st

The Adrien Abbott Prize was launched on 4th May 2012 for Adrien - a gifted writer and inspirational teacher of english who died before her time in May 2010. This is the third year of this competition "inspired by the poetry of her life" - Mark Tredinnick

Competition Theme 2014 — MUSIC
Poem(s) maximum of 25 lines — 1st prize $400 tutorial with Mark Tredinnick
Short story(s) maximum of 750 words — 1st prize $400 tutorial with Diana Simmonds
Closing date — 1st September 2014
The collected stories & poems — winners and highly commended will be announced 15th October 2014
Judges 2013 — Mark Tredinnick & Diana Simmonds
{ Judges 2012— Kathryn Heyman & Mark Tredinnick }
Each entry must be submitted anonymised as an individual PDF file — Ariel 16pt
Full name and address required separately— including State & postcode
Open to residents of Australia.
A poem or short story can have been submitted elsewhere, or be under consideration elsewhere but not previously published at the time of submission.

Submissions should have either 'poem' or 'short story' in the subject of the email and be sent to —

News nicked from writingWA's Newsletter

Book Launch: Letters to Mark
Please join Regime Books to summon into reality this remarkable collection by WA poet Christopher Konrad. To be launched by Shane McCauley, with music by Ross Bolleter. A book of wilderness, poetry and redemption. From 6.30pm, Monday Sept 15, at New Edition Bookshop, 41 High Street (cnr Henry Street), Fremantle.
The Break, Deb Fitzpatrick (Fremantle Press)
WA's south-west coast is the kind of place people escape to. Unless you have lived there all your life, in which case you long to get away.
Rosie and Cray chuck in their city jobs for Margaret River while Liza, Ferg and Sam have been there forever, working the family farm. Under pressure from developers the families unite against change. But when a natural disaster strikes, change is inevitable.
Join Fremantle Press to celebrate the launch of acclaimed children's author Deb Fitzpatrick's debut novel for adults. The Break will be launched Monday 1 September, 6pm for a 6.30pm start, at New Edition Bookshop, 41 High Street, Fremantle. RSVP via email.

The Gwen Harwood Poetry Prize
For an unpublished single poem or linked suite to 80 lines. First Prize: $2000 + publication in Island + annual subscriptions to a range of literary journals. Second Prize: publication + annual subscriptions. 2014 judges are Sarah Holland-Batt, Gig Ryan, and Sarah Day. Entries close September 30. Entry fees $20/$15 Islandsubscribers. For details click here.

Nailing Your Novel - Why Writers Abandon Books
This five-week course will teach you everything you need to know about starting, writing and finishing a novel. Join novelist Natasha Lester as she shares her secrets to writing an award-winning novel. Designed for those who’ve always wanted to write a novel but don’t know where to begin, as well as those who’ve started only to give up because they’re not sure where they’re going. Five sessions, from 6:30-9:00pm, Thurs 30 Oct-Thurs 27 Nov, at UWA Claremont. Cost: $169. For details, clickhere.
Josephine Ulrick Literature & Poetry Prizes 2015

Among the richest poetry and short story prizes in the world, the Griffith University Josephine Ulrick prizes in 2015 are worth $30,000 in total prize money. The Literature Prize seeks short fiction to 2000 words, while the Poetry Prize calls for poems to 100 lines. Each offers a First Prize of $10,000, with $5000 for Second Prize. Entries open 1 Dec and close 13 Feb 2015. For details, click here.   

Marathon Writing Competition
The Society of Women Writers WA is hosting another Marathon Writing Competition to help you ignite your creativity and prise raw ideas from the bedrock of your imagination. Mine a rich seam of plots, characters and narratives, to be cut and polished later into literary diamonds. Bring your favourite pens; notepaper supplied. There will be ten challenges of 25 min each, with the winner receiving a trophy and certificate. There are also prizes for second and third places. Cost is $20, inc. tea/coffee, and the Marathon is open to men and women. Sat 20 September, from 9.30am-4pm at the Citiplace Community Centre, Perth Railway Station Concourse. Book via email or ph. 0415 840 031. For information on the Society of Women Writers WA, visit their website.

Writing Books for Children and Young Adults
Writing for children and teenagers - it's easy, right? After all, if there's one thing we all were once, it's a kid. But just as eating ice-cream doesn't automatically make you a gelato expert, so too with children' s fiction. Many of us have great book ideas for children and teens, but simply aren’t sure where to start. That’s where the Australian Writers’ Centre can help. Whether it’s epic fantasy, comic adventure, romance or realism you want to write, this course covers all the essentials of writing fiction, with a specific focus on the most common questions about the dos and don’ts of writing for children and young adults. Weekend course at The Wembley Hotel, 18 & 19 October. Cost: $395. For details, click here.

Trove UWA Seeks Fiction and Poetry
Trove is the University of Western Australia's student-run online creative arts journal. They are currently seeking submissions as follows:
* Poetry on the theme of Memento Mori. Selected poems will receive $50 cash and will be displayed as part of the exhibition featuring the extraordinary video work Allegoria Sacra by the Russian collective AES+F, an evocation of Purgatory as an international airport. Submissions close 19 September.
* Poetry and fiction for an issue with the theme of "Ground". Submissions close 10 October.
Get creative. Get cracking. For details, click here.

for more information from writingWA, go to 

Wednesday, August 27, 2014

Robert Hass wins $100,000 Wallace Stevens Award

Robert Hass, the Pulitzer Prize-winning poet and UC Berkeley professor, has won the prestigious Wallace Stevens Award. The $100,000 prize is given annually by the Academy of American Poets in recognition of “outstanding and proven mastery in the art of poetry.”
Hass, a 73-year-old native of San Francisco, is a former poet laureate of the United States; he served from 1995 to 1997. He has also won a National Book Award, two National Book Critics Circle Awards and a MacArthur Fellowship. His recent books include “What Light Can Do: Essays on Art, Imagination, and the Natural World” (2012) and “The Apple Trees at Olema: New and Selected Poems” (2010), which Chronicle reviewer Dean Rader described as “a generous book [that] shows Hass’ impressive range, both thematically and formally.” The poet Forrest Gander has said Hass’ work “attends to the details of quotidian life with remarkable clarity.”
Read on HERE

Tuesday, August 26, 2014

Robert Lloyd Live at Holy Trinity Arts Festival.

Cincinnati Review Reading Period on now

The editors of The Cincinnati Review (est. 2003) have opened their yearly reading period and are now reviewing submissions for upcoming issues. The semiannual literary journal is edited and published by students and faculty of the University of Cincinnati. Both aspiring and experienced writers are encouraged to submit their work. Poetry: submit up to 10 pages of poetry. Prose (fiction/nonfiction): not to exceed 40 (double-spaced) pages. Long-form narratives (prose/poetry): submit 10-plus pages of poetry; 10K-35K words for prose. Book reviews: submit a single review of a book, up to 1500 words. Payment: $25/page for prose; and $30/page for poetry. The Cincinnati Review buys FNASR, plus electronic rights. Authors retain All Rights after publication. Reading period: August 15, 2014-April 15, 2015 -

Words in Winter - with berni janssen and Janet Galbraith

Queensland Poetry Festival 2014 starts Friday

QPF 2014 is here!
Only four more days to go... this Friday we take over the Judith Wright Centre with a program full of poetry, spoken word, music, performance. We'll be filling the air with the breadth and depth of language in all of its forms.

To get a taster of what is to come over the weekend visit the QPF website for a host of interviews, poetic snapshots, and other tidbits from the festival artists. And keep in touch with us via facebook and ontwitter #qpf14.

And of course please join us this Friday 29th August from 6pm for a glass of wine as we officially open the festival and announce the winners of the 2014 Arts Queensland Poetry Awards. Then kick back and get lively with the spectacular Needlepoints of Light!

In love and poetry -
Sarah, Festival Director

Exactly, Jerry Garcia, same here!

Oh, the coincidence is too much! I had a Jerry Garcia Day the day before yesterday (I'm sick with a cold which just seems to get worse, so I don't know which day it is!), and then a discussion about what choice do we have when yesterday's newspaper reported the ranking of just TWO parties in our national politics debate - then I tuned into facebook today to see this great little comment from Jerry Garcia:

Saturday, August 23, 2014

'One Hour Seeds Another' brag post

When I was young, I wrote a book. I enjoyed the launch so much, I wrote another one. Then, another. The habit caught until I couldn't kick it. So when I wrote my twelth book, I took it around the country. It also coincided with my 70th birthday, so I stood tall and proud, especially in front of works by one of my favourite Australian artists, Brett Whiteley at the gallery that holds his name in Sydney. 

Now I am back in the country town where we see out our days - Corowa, New South Wales. There are about six pubs here but no bookshop, so I know how difficult it is to go fishing for interesting books.My I boastfully claim mine to be very interesting - Take a look yourself at  It is a bargain at $20!

Here's one launch speech, by Lyn Reeves, in Hobart - 

Another by Andy Jackson at Collected Works in Melbourne

Novelist and long-time friend, Nicholas Hasluck, launched ONE HOUR in Perth with these words:


We are here for the launch of Andrew Burke’s book of poetry One Hour Seeds Another. It might also be said that ‘one book seeds another’, for this is Andrew’s eighth [Ed: 12th] book of poetry and, as I aim to show in the course of my remarks, there are links between the various books which say something about the poet’s style and the nature of his preoccupations.

I am conscious, of course, that any attempt to review a particular poet’s output over many years bring to mind that age-old lament so ably voiced by the poet Wordsworth when he said: ‘We poets in our youth begin in gladness / but thereof at the end comes despondency and madness.’ Fortunately, there are exceptions to nearly every rule. It will emerge from what I have to say that Andrew is an exception to Wordsworth’s dire warning. And when it comes to writing he is more than willing to break any rule that might stand in the way of reconfiguring his life and times. As he notes at page 3 of the book: ‘In poetry, being off duty is part of the job.’ [Bernstein]

I first met Andrew at a poetry reading in Tom Collins House given many years ago. A report of the occasion dated 2 December 1967 refers to the Fellowship of Writers holding its annual ‘wind-up’. It goes on to say that ‘among members who have had books published this year are Katherine Susannah Prichard, Henrietta Drake-Brockman, Griffith Watkin, John Barnes, Vincent Serventy, Gerry Glaskin and Lucy Walker.’ The poets represented at the reading included Ian Templeman, Bill Grono, Andrew Burke, Viv Kitson, Noelene Burtenshaw, Merv Lilley,  Dorothy Hewett’ and several others. So we were in good company that night, and it pleases me to recall the occasion for several reasons. It marked the beginning of some long-standing friendships, and I am conscious also that Andrew has dedicated the book being launched today to his friend and fellow writer Viv Kitson who was there that evening but unfortunately, like some of the others, is no longer with us.

I forget how Andrew introduced himself back then but it may well have been along the lines of his poem Self Portrait which was later published in Soundings, the first book put out by the fledgling Fremantle Arts Centre Press. The poem in question is a deeply introspective piece of soul-searching which reads as follows: ‘mainly have always lived in Perth / have mainly always lived in Perth / have always mainly lived in Perth / have always lived mainly in Perth / have always lived in Perth mainly / born Melbourne 1944.

The photograph that accompanied this and other Burkean poems in the anthology is a head and shoulder shot of a youngish poet with a splendid ‘Ginsbergian’ beatnik beard.  There are traces of that era in the present book when Andrew mentions ‘riding a Greyhound bus / I think of Kerouac and co / in this sparse / Australian landscape on / an air-conditioned coach / reading AA recovery stories / socking water back.’  There was certainly a touch of Ginsberg, Snyder and some of the other ‘beats’ in Andrew’s first book Let’s Face the Music and Dance  which was launched by Peter Jeffrey at the Old Fire Station Gallery in West Leederville, shortly before the Soundings anthology came out. It’s a great pleasure to see Peter Jeffrey here today and to recall that earlier launch, attended by a jazz band and a clamour of general revelry.

These early books were followed by On the Tip of My Tongue, Mother Waits for Father Late and Pushing at Silence. By then Andrew had become well-known for readings at venues all over the city from the Stoned Crow at Fremantle to the Stables in Mount Street and the decrepit upstairs loft off King Street, the exact location of which now escapes me. Wherever it was, it gave heart to poets young and old, although we were sometimes reading mostly to ourselves. In the midst of all this, in Andrew’s poetry, one caught the echo of the contemporary, metropolitan experience – fragmented rhythms, fleeting allusions, quips and parodies, a style affected by what was happening overseas, but with an Australian tone, and with an increasing emphasis upon the ups and downs of life on the home front, the gains and losses of domestic experience and of the workplace.  There is something of this in the books that Andrew brought out later including Beyond City Limits and Whispering Gallery.

Mentions of Whispering Gallery prompts me to recognise in passing the work done by Roland Leach of Sunline Press, a fine poet himself and the publisher of that book. At a time when poets are finding it increasingly difficult to get their works into print, he gave heart to many. I note in passing also that author’s photograph on the dust-jacket of Whispering Gallery presents a scrubbed-up and clean-shaven version of Andrew Burke, but the poetry within – fortunately - continues to thumb its nose at the rule book and goes its own way.

And so we come finally to Andrew’s latest work One Hour Seeds Another. It struck me immediately, upon a first reading of the book, that there were indeed many links to the earlier works, and echoes of former ventures and relationships. The first poem in the book commences: ‘You open my pages. Memories fly out, / roots still growing. Clouds  / float our globe in shapes by the elements. / Start here: we could render them meaningful … /. The reader will find that in many of the poems there is a poignant sense of the past revisited and the youthful foibles of other days. In ‘Under a Black Beret’, for instance, the poet is pictured ‘ … still in my school suit / ordering café noir, s’il vous plait at El Calib / or late night at The Coffee Pot / where they’d put on Oscar Petersen Plays / Porgy and Bess when I walked in.

El Calib. The Coffee Pot. Poems of this kind will have a special resonance for many readers, and it was this that prompted me to return to some of Andrew’s earlier works and various adventures. But one has to be careful in giving too much emphasis to the vagaries of biography. I was reminded of this while reading a piece by the American poet and novelist John Updike. He had this to say about the process of recording the ups and downs of a life, the jobs held, the worries confronted, and so on: ‘The trouble with literary biographies, perhaps, is that they mainly testify to the long worldly corruption of a life, as documented deeds and days and disappointments pile up, and they cannot convey the unearthly human innocence that attends, in the perpetual present tense of living, the self that seems the real one.’

There is much of value in these reflections, and they proved to be of use to me in singling out the merits of Andrew’s book. In this context Updike is using the word ‘corruption’ not as a synonym for malevolence, but simply as another way of describing a process of wearing down or distorting. I take him to be saying that an inventory of the external or worldly events of a life, the mundane matters that may be of interest to a biographer, will leave an incomplete or false impression, for a portrait of that kind is bound to omit a number of interior or ‘other-worldly’ facets of the life in question. For most people, underlying what happens on the surface, is the sense of personal joy or wonder, the moments of illumination, that influence their actions. It takes a poet to bring this home to us by enriching the scraps and fragments of the daily round that remind us of our ‘unearthly human innocence.’

These reflections help me to define a singular quality in Andrew’s poetry, in this book, and in his earlier works. In many of the poems there are autobiographical elements, be they haikus or longer pieces, episodic or carefully structured renderings, light or sombre, but underlying these elements there is a generally a sense of discovery and wonder, one could almost call it gladness. In this way he refutes the Wordsworthian rule I mentioned at the outset and underlines the wisdom of that other rule I quoted earlier: ‘In poetry, being off duty is part of the job.’

With these thoughts in mind it gives me great pleasure to declare that One Hour Seeds Another is now well and truly launched. I urge you to buy several copies, for yourself and for your friends.

** ** **

Typography rules for writers

As a pro­fes­sion­al writer, you should hold your doc­u­ments to the same stan­dards as pro­fes­sion­al­ly pub­lished ma­te­r­i­al. Why? Be­cause your doc­u­ments are pro­fes­sion­al­ly pub­lished material. More­over, much of what writ­ers con­sid­er prop­er ty­pog­ra­phy is an ac­cu­mu­la­tion of bad habits and ur­ban leg­ends. These will be set aside in fa­vor of pro­fes­sion­al ty­po­graph­ic habits. Any writer can mas­ter the es­sen­tials of good typography.

... from John Tranter, Australian poet and publisher
Very useful: of key rules

  1. The four most im­por­tant ty­po­graphic choices you make in any doc­u­ment are point sizeline spac­ingline length, and font (pas­sim), be­cause those choices de­ter­mine how the body text looks.
  2. point size should be 10–12 points in printed doc­u­ments, 15-25 pix­els on the web.
  3. line spac­ing should be 120–145% of the point size.
  4. The av­er­age line length should be 45–90 char­ac­ters (in­clud­ing spaces).
  5. The eas­i­est and most vis­i­ble im­prove­ment you can make to your ty­pog­ra­phy is to use a pro­fes­sional font, like those found in font rec­om­men­da­tions.
  6. Avoid goofy fontsmono­spaced fonts, and sys­tem fonts, es­pe­cially times new ro­man and Arial.
  7. Use curly quo­ta­tion marks, not straight ones (see straight and curly quotes).
  8. Don’t use mul­ti­ple word spaces or other white-space char­ac­ters in a row.
  9. Never use un­der­lin­ing, un­less it’s a hyperlink.
  10. Use cen­tered text sparingly.
  11. Use bold or italic as lit­tle as possible.
  12. all caps are fine for less than one line of text.
  13. If you don’t have real small caps, don’t use them at all.
  14. Use 5–12% ex­tra let­terspac­ing with all caps and small caps.
  15. kern­ing should al­ways be turned on.
  16. Use first-line in­dents that are one to four times the point size of the text, or use 4–10 points of space be­tween para­graphs. But don’t use both.
  17. If you use jus­ti­fied text, also turn on hy­phen­ation.
  18. Don’t con­fuse hy­phens and dashes, and don’t use mul­ti­ple hy­phens as a dash.
  19. Use am­per­sands spar­ingly, un­less in­cluded in a proper name.
  20. In a doc­u­ment longer than three pages, one ex­cla­ma­tion point is plenty (see ques­tion marks and ex­cla­ma­tion points).
  21. Use proper trade­mark and copy­right sym­bols—not al­pha­betic approximations.
  22. Make el­lipses us­ing the proper char­ac­ter, not pe­ri­ods andspaces.
  23. Make sure apos­tro­phes point downward.
  24. Make sure foot and inch marks are straight, not curly.

On the tenth anniversary of his death - Czesław Miłosz

Not that I want to be a god or a hero. Just to change into a tree, grow for ages, not hurt anyone.

Czesław Miłosz 

Read more quotes at

Friday, August 22, 2014

Fame at last for 'One Hour Seeds Another'!

Thanks Anna Teasdale for this pic of ONE HOUR SEEDS ANOTHER on display at Perth City Library.

If you're in the Perth parish, borrow it.
If you're elsewhere and would like a copy, go to

If you'd like to read Andy Jackson's launch speech, go to

If you're in Melbourne, you'll find it at Collected Works, Swanston Street.
If you're in Hobart, at Hobart Book Shop, Salamanca Sq.

Wednesday, August 20, 2014

Another Grand Reading at COLLECTED WORKS

19 August 2014

Artists: Improve your Figure Drawing
Learn how to draw lifelike figures that jump off the page. Get lifetime access to the online Craftsy class Figure Drawing: An Essential Guide for free, and enjoy instruction from renowned artist Patricia Watwood in the comfort of your own home.
With step-by-step video lessons, you'll master figure drawing as you learn classical techniques for rendering from live models. Progress from a simple block-in sketch to a gestural drawing to a polished piece with depth and dimension, while gaining hatching, shading and highlighting skills. And, as a bonus, you'll even find out how to create custom toned papers to add a unique touch to your work.
What makes Craftsy's online classes great?
  • Learn for life. With lifetime access to your classes, you can watch lessons at your preferred pace and easily revisit your favorite concepts with just a click.
  • Kick up your feet. Enjoy classes anytime from the convenience of your home or even on-the-go with our mobile apps.
  • Get personalized guidance. Ask your fellow students questions to receive all the answers and feedback you need to succeed.
  • Conquer new concepts. Learn easily with helpful diagrams, engaging graphics and downloadable materials that walk you step-by-step through gaining skills.
Sign-up for free at

La Mama 'Kissing a Stranger' LAST DAYS

Anna Lumb, circus and burlesque sensation, creates a series of vignettes exploring pathologically impulsive behaviour illuminating the mindset of the celebrity, the stalker, the private dancer and the public exhibitionist. Loss of control and rebellious behaviours play out to reveal moments of beauty, inspiration and chaos. What lengths will she go to stand out from the crowd?
Featuring public displays of private dancing, endurance marathons, circus skills and sticky tape.
★★★★ “A treat to watch. Lumb is so likeable that even when she does things that seem random she has the audience in the palm of her hands”
- Herald Sun

Devised and performed by Anna Lumb
Directed by Anni Davey
Dramaturgy by Maude Davey

AUGUST 20 – AUGUST 24 @ La Mama Theatre

More info HERE

Kissing a Stranger is part of La Mama's 2014 Celebrating Women Festival

La Mama Theatre
205 Faraday Street
PO BOX 1009
Carlton VIC 3053 Australia
+613 9347 6948