What We Do at Australian Poetry, and Testimonies Collated Material In

Australian Poetry grant application Australia Council for the Arts

What we do at Australian Poetry, and Testimonies Collated material in support of AP’s application for the Australia Council’s four year organisational funding round 2021–2024 Australian Poetry, based at The Wheeler Centre in Melbourne, acknowledges the custodians and owners of the land, the Wurundjeri people of the Kulin Nation. We pay our respects to Elders past, present and future.

Supporting material p. 1 / 20 Letter from Ali Cobby Eckermann, Australian Poetry grant application reproduced with her permission. Australia Council for the Arts

To Australia Council

The role of poetry in its entire history around the world is to evaluate and educate society. It is the genre that allows true expression without borders nor prejudice, rare in today’s social and political environments. It is the arena where I feel most safe. At its inception Australia Poetry supported the publication of a small collection of poetry titled ‘little bit long time’, a selection of my poems that were written in the desert with a focus on the Stolen Generations and healing. Recently my children and I attended the Windham Campbell Awards at Yale University in Connecticut USA to accept the inaugural Award for Poetry. This amazing tribute, worth $165 000US got 40 000 hits on Facebook and was a special feature story in the New York Times. I am the first Indigenous person in the world to win this Award. The support, encouragement and opportunity given me by Australia Poetry has been honest and ongoing. My confidence as a poet and emerging word artist, speaker, editor and facilitator has arisen by such diligence to task. I see this diligence given to many other poets, both established and on the rise, many from minority lives. Poetry saves lives. I assure you this is true. Please fund Australia Poetry to continue its vital work.

Sincerely Ali Cobby Eckermann

[email protected]

Supporting material “Poetry saves lives. I assure you this is true.” p. 2 / 20 The Blak Brow: Blak Women Take Control Australian Poetry grant application Australia Council for the Arts

The Blak Brow event was an absolute highlight of Sydney Writers’ Festival 2019, and could not have happened without the support of Australian Poetry and The Lifted Brow, especially the Blak Brow collective. The panel was extraordinary and of the hundreds of events, it has been the one that people have mentioned to me time and time again in the months since. We were incredibly grateful for Australian Poetry’s support. Supporting material —Tamara Zimet, Sydney Writers’ Festival 2019 Associate Director p. 3 / 20 Australian Poetry Journal 7.1 – ‘Skin’ Australian Poetry grant application Cover image by Destiny Deacon Australia Council for the Arts Poem by Natalie Harkin Australian PoetryAustralian Journal Natalie Harkin ‘how the stars settle on the sacred ceiba’ Australian ~ Maria Takolander olue Poetry Journal uer

I remember you as a child

I remember you as a child mission-station dust fine-silts your skin eyes closed and content your shining face grows toward the sun your small-chin cupped in strong hands of grandmothers-old warmly tucked-in our family-fold I remember you as a child I chase your shadow you dance on winds that whip your hair sting your eyes our horizons hold your gaze your love reflected in the deepest blue salt-drops on the air season your tongue and we taste it all C I remember you as a child your dark-outline exquisite olue ssue M against hot-pink skies your feet grounded even when you float on Y THIS EVENT IS FREE ocean-shimmers that dissolve another day naïve to what

CM Limited Places, Booking Essential lies beyond this fading sun you smile naïve you In partnership with Red Room Poetry, Australian MY www.newshoots-mwf.eventbrite.com skip blindly toward something else this day your final Poetry, Royal Botanic Gardens Victoria and great moment of certainty I remember you as a child CY Melbourne Writers’ Festival 2017 have this day oh-sinister day I hide low in your shadow CMY commissioned ten of Australia’s most spirited 2.30 - 4.30 PM poets to create new poems inspired by plants and SUNDAY 3 SEPTEMBER 2017 strain from its dark try to catch your breath when the last of K place. Poems will be launched with a poetic tour of ROYAL BOTANIC GARDENS VICTORIA your innocence exhales but you drift illusive my lips the Royal Botanic Gardens Victoria. MELBOURNE GARDENS quiver for your cheeks my lungs strain pain to inhale any mournful trace of you I remember you as a child that day you stopped skipping you started to run tears erode you a coast-line to survive and I ebb and flow through australianpoetry.org lifetimes that refuse you refuse you to disappear.

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A A P’ 2017

Three events, co-presented with Queensland Poetry Festival, 24-27 August, queenslandpoetryfestival.com Tasmanian Writers and Readers Festival, 6-17 September, taswriters.org/twrf/ ACT Poetry on the Move, 14-21 Septembe, ipsi.org.au National Young Writers’ Festival, 28 September-1 October, youngwritersfestival.org Digital Writers’ Festival, 26 October-3 November, digitalwritersfestival.com 28 Australian Poetry Journal

APJ-7.1-COVER.indd 1 Poetry guest edited by Ellen van Neerven and Ali Cobby Eckermann. 26/7/17 8:41 am APJ-7.1-ALL-06.indd 28 Supporting material26/7/17 8:20 am The volume featured 48 First Nations poets. p. 4 / 20 Australian Poetry Anthology Vol. 7, 2019 Australian Poetry grant application Australia Council for the Arts

Australian Poetry Volume 7 Anthology 2019

Volume 7, 2019, guest edited by Yvette Holt (NT) and Magan Magan had a national selection but with a focus on new and known NT and First Nations voices. These included poems from four emerging women poets involved in a mentoring program at Darwin’s Correctional Centre. Volume 7 launched at an AP event with ten NT-based poets at the NT Writers’ Festival, Alice Springs, 16 May 2019. The cover, the first in a new publications branding for AP, was created by AP designer Stuart Geddes, through Supporting material extracting punctuation from a poem in the collection. p. 5 / 20 Australian Poetry Journal 9.1 Australian Poetry grant application Poetry guest edited by John Kinsella Australia Council for the Arts

Australian Poetry Volume 9 Journal Number 1

Working on the special activist poetry Resist! issue of APJ was not only an efficient, ethically just and communal process, but one that was also deeply textually rewarding. Jacinta and the AP team there are remarkably dedicated, transparent in their processes, and fully supportive of the guest editor/s. It is one of the best collaborative publishing experiences I’ve had, and I am sure I can speak for the contributors as well who were cared for, respected, and looked after in all ways in seeing their accepted poems to ‘print’. In all things, APJ was sensitive and respectful to difference and individual need within the communal context of publication, and this, to me, is the key to it all. — John Kinsella

‘As I said in the callout to poets, this issue is intended to be a safe zone for poets to express their resistance to oppression in its many forms. Further, the publication of this issue is in immediate response to planetary environmental degradation verging on complete collapse, to issues of injustice and unfairness in our various social spaces, and is a challenge to institutional bigotry, brutality, and indifference. Issues of injustice are not separate, but are in dialogue. I also stated the need for primary recognition and support for Aboriginal and Torres Strait Islander cultural and land rights, for an intense advocacy for the natural environment, for the rights of refugees and the celebration of cultural diversity, as an enactment for any whose voice is suppressed, for a resistance to violence and the arms industry, for animal and human rights.’ —from APJ 9.1 – ‘resist!’ Foreword, Supporting material John Kinsella p. 6 / 20 Excerpt from Australian Poetry Journal 9.1 Australian Poetry grant application Australia Council for the Arts

Publishing Information Support Australian Poetry Journal Australian 2019 Volume 9, Number 1 australianpoetry.org A publication of Australian Poetry Ltd Poetry Poetry Guest Editor: John Kinsella Designer: Stuart Geddes Publisher: Jacinta Le Plastrier, Australian Poetry Journal AP Subscriptions: Emma Caskey AP Publications intern: Alicia Spyropoulos Printed by Focus Print Group

Australian Poetry (AP) is the sole national representative body for poetry in this country. It is an independent non-profit organisation, supported by federal, state and local government arts funding programs, patrons and its subscription base. We represent Australian poetry and its poets, nationally and internationally.

The Australian Poetry Journal is published biannually.

Address editorial correspondence to Level 3 The Wheeler Centre, 176 Little Lonsdale Street, Melbourne, Victoria 3000 or by email to [email protected]

Australian Poetry Ltd attains worldwide first publication rights in both printed and digital form for the distribution and promotion of the Australian Poetry Journal and organisation as a whole.

ISSN 2203-7519

Subscription to the Australian Poetry Journal is available online: australianpoetry.org/support

Individual copies of the journal (including back issues) can be purchased directly from Australian Poetry Ltd: [email protected]

Australian Poetry, based at The Wheeler Centre in Narrm/Melbourne, acknowledges the custodians and owners of the land, the Wurundjeri people of the Kulin Nation. We pay our respects to Elders past, present and future.

3 Volume 9, Number 1

Supporting material p. 7 / 20 Excerpt from Australian Poetry Journal 9.1 Australian Poetry grant application Australia Council for the Arts

Shastra Deo Dan Disney

View of the Sky from an Imagined Lake in June

let us rejoice

ℑ have always believed in miracles: the main plank in the program is to abolish the liberalistic concept of the individual

and how good is Australia, how good are Australians rooted in the soil, bound together by the bond of common blood, this is, this is a simple statement involving tremendous consequences for the best country in the world is in a time at which people are being taught to realize to have their dreams, then have to face the noblest and most sacred for humankind, their aspirations (to get a job, to get an apprenticeship, to start a business), to meet the purity of the blood which God has given, to meet someone amazing, to start the greatest revolution and rend asunder the veil, a family which hides from us the knowledge that to buy a home, to work hard and provide as best you can for your kids is a task we each have to face, to save for your retirement and to ensure a revolutionary alternation in the general world-picture so that when you're in your retirement you can enjoy it, conserving blood and race free from intermixture, because you've worked hard for it (and it is not for us to discuss the question of why providence created different races), these are the quiet Australians who recognize the fact that God punishes those who disregard His work of creation, and who have won Let’s say we read starstuff the same way we read bait minnows in a mesh net—like punctuation flitting over a metrical foot, or a lake limned with stones, liminal a great victory tonight space, soy sauce fish. (how good are Australians) Sometimes you have to hold a thing to understand what to do with it. How it governs you. How the scrimshaw of our beloved bodies bends too far back. 18th May 2019 30th January 1937 Skin grown over splinters & chemical peel. Mistakes between the faultfissures of our fingers. How often does belly grow heavy with / —remarkable error!— / bezoar wrought of slough, cinders and capital? How often is a heart just like a fish in the hand? Pulsing / still / pulsing. Let’s say we read starstuff the same way we read calculus. Which is to say, // I can’t. Sometimes holding a minnow in your teeth means it congeals into matter that drives diaphragm & breath. Sometimes you swallow the fish in your hand and it’s just plastic and shit. “I don’t appreciate,” my father / says, “that sort of language.”

40 Australian Poetry Journal 41 Volume 9, Number 1

Supporting material p. 8 / 20 Excerpt from Australian Poetry Journal 9.1 Australian Poetry grant application Australia Council for the Arts

Bella Li

SCENES FROM THE WORLD TO COME

AFTER THE LAST GREAT WAR. EMERGED FROM THE SHATTERED PLACES AS FROM A CHRYSALIS. THROUGH THE CANOPY, THIN MEMBRANE, PIERCED AND TOOK WINGÈD FLIGHT. OVER VANISHING BABYLONS: WINTER GARDENS, PLEASURE DOMES, JUNGLE CITIES, BIOMES, CRYSTAL PALACES OF KINGS. IN THE TAIGA — PINE, WHITE SPRUCE, HEMLOCK, FALLING IN SILENT ROWS. THE RAVENOUS RUINED WAVES. ORBITING. WE ENTER ANOTHER SPACESHIP, LONG ABANDONED ON A DESSICATED PLANET. IN THE DESERTS THE STRUCTURES VITREOUS, FAMILIAR. BRITTLE SUNS IN STREAKS AND THE CAREFUL SPHERE — EXPANDING, CONTRACTING.

64 Australian Poetry Journal 65 Volume 9, Number 1

Supporting material p. 9 / 20 Excerpt from Australian Poetry Journal 9.1 Australian Poetry grant application Quinn Eades, Manifesto for a Queer Future Australia Council for the Arts

Quinn Eades

MANIFESTO FOR A QUEER FUTURE

This entire continent with all its countries and peoples will be Everyone will understand that a fallow state is sometimes handed back to its original owners to care for and manage. necessary.

All place names and street signs will be changed to names in the The DSM will disappear. language of the country those places reside on. Gender affirmation surgeries will be free. All children will learn three to four languages: the native language of their care givers, the main spoken language of the No one will have to fill out a fifty-year old questionnaire with a place they live in (if it’s not the language of their care givers), the gender psychiatrist proving themselves to be what they already language spoken by the indigenous owners of the place they live know they are. in, and the sign language belonging to the Deaf community who live in the place they live in. Psychiatrists will disappear.

All children will have access to musical instruments and the Along with the psychiatrists, anxiety, depression, bi-polar, opportunity to learn as many of these instruments as they want borderline personality disorder, gender dysphoria, drug to. addiction, alcoholism, ADHD, ADD, and eating disorders will also disappear. My children calling me Mama and he in the same sentence will not make me afraid for mine and my children’s safety. No one will die for being a person of colour, or queer, or for what does or does not live between our legs. No intersex baby or child will be operated on without their consent. No one will die for being a woman walking alone in a park at night, or a woman in her bed at night, or a woman in her home in The rich will not get richer. the middle of the day.

The refugee camps will be emptied, and reparations made. No one will die because an angry cis white heterosexual man thinks he has the right to use his body as a weapon, or a weapon There will be fewer cars and more buses. Every neighbourhood as his body. will have a central gathering space with food gardens and a shed full of tools to share. Because, fuck Bunnings. There will be no centre.

No one will parent in isolation. There will be many proliferating margins.

There will be many arms to hold the babies. We will remember that art, poetry, music, writing, theatre, dance, and song show us how to live. No one will deal with mental health conditions in isolation. Our old people will live alongside, and with, our young people in No one will tell someone who has a mental health condition that roaming green places where emotional labour is valued just as they are not trying hard enough to be better. highly as intellectual and physical labour.

46 Australian Poetry Journal 47 Volume 9, Number 1

This poem by Quinn Eades is excerpted from Australian Poetry Journal 9.1 – ‘Resist’. Supporting material Quinn also read the poem at Melbourne Writers Festival 2018 at as part of AP’s Big Bent’ festival series. p. 10 / 20 Australian Book Review Australian Poetry grant application Books of the Year 2018 Australia Council for the Arts

“But, led by Jacinta Le Plastrier, Australian Poetry has been publishing an impressive, and impressively various, sequence of guest-edited

journals and anthologies.” Supporting material —Lisa Gorton p. 11 / 20 Tell Me Like You Mean It, 2018 Australian Poetry grant application Cover image by Arini Byng Australia Council for the Arts Poem by Zhi Yi Cham

to be forgiven here

1. 2.

i am waiting a boy on a permutation of this city i could be the mother to where i run into you eyes me in that time, collect like a ripe peach for the taking blood creeping from nail beds i see in the hem of my sleeve the wound on my lower lip growing like a breath held into a rift red as worship

into this body of water i enter to this body of water i surrender

my mother enjoys reminding me when i run into you / if Volume 2, 2018 Volume of the fullness of my lips i told you i loved you / i think & that i must hide them it is nothing you haven’t heard before tuck them in, she says i know you my mouth a pocket for ripened girlhood across the breadth of the stage i think ma thinks ripeness & you know me is just a rot waiting to turn across the breadth of my gaze | Zhi Yi Cham | 23 2 put lipstick on even then vol

• to attend a meal this is more it broth washing upon than i would give mean

maroon-shored mouth most people

you colour undressed i don’t speak to you after

an unbecoming slip past you not unnoticed like becomes ritual leave / i have been strange enough me

tell

to contents page

Tell Me Like You Mean It is a free e-chapbook guest-edited for AP by Melody Paloma. Though AP is the publisher and funds the annual volume, it does so in collegial partnership with Cordite Poetry Review. The annual publication features new work from 20 young and emerging poets, and is launched each year Supporting material at an AP event at the Emerging Writers’ Festival. p. 12 / 20 Core Values Australian Poetry grant application by Benjamin Laird Australia Council for the Arts https://poetry.codetext.net/core-values

Benjamin Laird’s digital poem CORE VALUES (2017) was a new commission by AP in a series where 12 poets nationally responded to, or rewrote, Dorothea Mackellar’s iconic poem, MY COUNTRY, in an AP festival and publication series called TRANSFORMING MY COUNTRY. These poets presented and discussed these original poems at AP events at Sydney Writers’ Festival, Melbourne Writers Festival and Queensland Poetry Festival. Laird’s poem was visually projected and read at MWF. The digital poem, also published as a page poem in Australian Poetry Journal 7.1, went on to be awarded the QLD Literary Awards 2018 – the QUT Digital Supporting material Literature Award. p. 13 / 20 Australian Poetry/ NAHR Eco-Poetry Fellowship Australian Poetry grant application Poem: Eunice Andrada, a Filipino immigrant poet, lyricist and teaching artist from Sydney, was the AP / NAHR Fellow Australia Council for the Arts for 2018, producing a range of new poems which were published in Australian Poetry Journal 8.2 – ‘spoken’.

Eunice Andrada

to speak water

is to pronounce one unmothered goodbye after the other syllables tarnishing upon impact with air

perhaps another country’s water or its drowning or another body altogether

isagani isagani isagani the name of a somewhere -daughter the one I speak home to and for whom will I teach her speech

and what is a daughter but a thing to be swallowed whole

without water or vocabulary to recall details of a body found suppose this is the syntax of separation belonging to nothing you can hold back

speaking water

as if

Each year, debuting in 2017 and in partnership with the northern Italian Nature, Art & Habitat Residency your body can survive (NAHR), Australian Poetry offers a month-long residency fellowship to an Australian poet. The Australian Poetry/ NAHR Eco-Poetry Fellowship takes place in June in the village of Sottochiesa, Taleggio Valley. The even this selected poet is one of seven international Fellows participating in each year’s program, whose residents are selected from across artistic disciplines. The AP fellow is selected from a rigorous application and jury process, where poets submit on the theme appointed by NAHR for a particular year. New work produced 77 Volume 8, Number 2 from the AP Fellowship is published in the Australian Poetry Journal. From 2019 on, at AP’s initiative, the Fellowship also partners with Plumwood Mountain Journal (ed. Anne Elvey), so the Fellow will also have the opportunity to have poems selected for publication from the residency in Plumwood Mountain. From 2021, a travel bursary will also be provided by AP so that the successful fellow is not required to cover airfares, thus APJ-8.2-ALL-FINAL.indd 77 Supporting material 10/12/18 4:40 pm increasing access. All else is provided free during the month-long residency. p. 14 / 20 Anne Elder Award Australian Poetry grant application Australia Council for the Arts

The Anne Elder Award (named after Australian poet Anne Elder, 1918-1976) is a prestigious, national, annual award is for a sole-authored first book of poetry of 20-minimum pages in length, published in Australia. Established in 1977, the prize has offered important recognition to poets at a critical point in their writing Supporting material lives, and its alumni represent some of Australia’s best-known and highly respected poets. p. 15 / 20 Letter from Omar Sakr, reproduced Australian Poetry grant application with his permission. Australia Council for the Arts

IN SUPPORT OF AUSTRALIAN POETRY

To Whom It May Concern,

My name is Omar Sakr, I am an Arab-Australian poet from Western Sydney and the author of the debut collection, These Wild Houses, which was recently shortlisted in the Queensland Literary Awards for the Judith Wright Calanthe prize. I’ve been published in numerous journals and anthologies, including The Best Australian Poems 2016, Contemporary Australian Poetry, Overland, Meanjin, Island, Cordite Poetry Review, Mascara Literary Review, Going Down Swinging, Tincture, Antic, Archer, Kill Your Darlings, and The Saturday Paper, among many others. I’ve also placed runner-up in the Judith Wright Prize for New and Emerging Poetry, and been shortlisted for the ACU Poetry Prize, the Fair Australia Prize, and the Story Wine Prize. I am writing in support of Australian Poetry’s grant application not out of any sense of obligation but because in recent years it has begun to do vital work for our literature and I would like to see that continue. There is a danger in any “flagship” publication with as sweeping a title and a vision as AP has, a danger in supporting titles simply because they are a fixture in the literary landscape— that way lies stagnation, lies homogeneity. Few organisations, however, have made as dramatic a turnaround as AP has in the last two years which has seen it become a significantly more innovative, diverse, and exciting force in the industry. Australian Poetry is now a fixture at national writing festivals with diverse lineups of local and interstate poets, it is making an effort to approach indigenous and other black or brown poets as guest Sydney-based poet and writer Sara Saleh will nominate editors for new issues of its journal, and this is having a profound a poem from this collection to be published in Australian effect on our literature. Poets require this kind of support, and Poetry Journal 10.1 – ‘elegy’, with her commentary on Australian audiences deserve to have the kind of increased access to it alongside. Poetry for this volume on modern elegy poetry that these efforts are producing. It would be a real shame if is being guest edited by Ellen van Neerven, Felicity this good work were to be discontinued because of a lack of funding. I Plunkett, David McCooey and Eunice Andrada. urge you to support this application and to support Australian poetry as it undergoes this revitalisation.

Warmly, Omar J. Sakr

“Australian Poetry is now a fixture at national writing festivals with diverse lineups of local and interstate poets, it is making an effort to approach indigenous and other black or brown poets as guest editors

for new issues of its journal, and this is having a profound effect on Supporting material our literature.” p. 16 / 20 Extract of letter from Mindy Gill, Australian Poetry grant application reproduced with her permission. Australia Council for the Arts

…

I first met Jacinta (AP CEO) in 2017 when I was awarded a Wheeler Centre Hot Desk Fellowship. Her mentorship was provided to me by an Australian Poetry Fellowship, and over the course of ten weeks we became engaged with one another’s work. During this time, I was editing a draft of my first collection. Jacinta gave me generous feedback, both on individual poems and on the collection as a whole, and eventually passed the manuscript along to a renowned Australian publisher for their consideration. Australian Poetry’s support of young and emerging writers is unwavering, and I felt she went above and beyond in advocating for me and my work. Jacinta was extremely encouraging when I expressed my hesitation in applying to certain awards and residencies, and during my time with her I went on to apply, and be awarded, the Queensland Premier’s Young Writers and Publishers Award, residencies in Bangalore, India with Sangam House, in Perth with the Fellowship of Australian Writers Western Australia, and in Shanghai with the Swatch Art Residency. Although Jacinta’s formal title via the Fellowship was as my mentor, from the beginning she treated me as a colleague and peer.

…

“Australian Poetry’s support of young and emerging writers is

unwavering, and I felt [Jacinta] went above and beyond in advocating Supporting material for me and my work.” p. 17 / 20 Extract of letter from Amir Tatai, reproduced Australian Poetry grant application with his permission. Australia Council for the Arts

… I wanted to say that I felt and observed that our students had a fantastically insightful morning with MC Mantra. Our students were most graciously made to feel at home and his knowledge and insights allowed our students to produce some inspired words…and all these ingredients are a recipe for an exciting future. You’re doing amazing things.

…

Amir Tatai, teacher, workshop feedback, from the Hume Valley Specialist School whose four young women students with cognitive disabilities competed in OutLoud Eco!Slam 2018, AP’s annual school poetry slam whose high-profile final is held as part of Melbourne Writers Festival. Poet-teachers Emilie Zoey Baker, Maxine Beneba Clarke and Mantra MC are part of the project. Students produce original poetry. Schools with accessibility or other challenges each year are offered bursaries to participate, as was the case with Hume Supporting material Valley, whose school cannot afford entry or workshops. p. 18 / 20 Australian Poetry Film Presentation Australian Poetry grant application https://vimeo.com/327617792 Australia Council for the Arts Poet Bios Information

Bonny Cassidy is the author of three poetry and Offshoot: Contemporary Life Writing Growing Up African in Australia. Magan’s first Emilie Zoey Baker is an award-winning collections, most recently Chatelaine Methodologies and Practice. He is currently book From Grains to Gold is published with Australian poet and spoken-word performer (Giramondo, 2017), which was shortlisted for working on three books. Vulgar Press. who has toured extensively as a guest of the 2018 Prime Minister’s Literary Awards international festivals. She performs regularly and QLD Premier’s Literary Awards. Bonny is Benjamin Laird is a Melbourne-based computer Harry Reid is a poet who lives in the western at arts and literature festivals, and alongside Reviews Editor for Cordite Poetry Review and programmer and poet, whose work includes suburbs of Melbourne. They were a Wheeler numerous opportunities and fellowships, runs the Creative Writing program at RMIT digital and electronic poetry, for which he was Centre Hot Desk Fellow for 2018 and they including touring Indonesia and the US with University. awarded the 2018 Queensland Literary Awards appeared in Australian Poetry’s BIG BENT the renowned Women of Letters storytelling digital prize (for an AP commissioned poem). event at Melbourne Writers Festival 2018, with series, she teaches poetry and slam in schools. Quinn Eades is a Tracey Banivanua He is currently a PhD candidate at RMIT poets writing and reading on gender fluidity Emilie has been published widely. Mar Research Fellow and Lecturer in researching poetry and programming and he and queering. Their poems have appeared in Interdisciplinary Studies and Gender, is also a website producer for Overland literary the Australian Poetry Journal and Cordite Poetry The presentation was filmed and edited by Sexuality, and Diversity Studies at La Trobe journal and Cordite Poetry Review. Review and they curate the monthly ‘sick leave’ highly respected The Picture Tank, director Dee University, Melbourne. A writer, researcher, poetry reading, curating new, emerging and McLachlan, producer Andrea McLachlan. editor, gutter philosopher and poet, his Magan Magan is a writer and poet based in established voices in an unexpected mix. book Rallying was awarded the 2018 Mary Melbourne. He has read his work at numerous Gilmore Award for first book of poetry. Quinn festivals and events, and his work has Ellen van Neerven is a Mununjali Yugambeh is the author of all the beginnings: a queer been published in a range of journals and person from south-east Queensland and the autobiography of the body, and the co-editor anthologies. A 2018 Wheeler Centre Hot Desk author of two books, Heat and Light (UQP, 2014) Supporting material of Going Postal: More than ‘Yes’ or ’No’, Fellow and a co editor of Black Inc. anthology, and Comfort Food (UQP, 2016). p. 19 / 20 Belle, Untitled (I truly believe that I am an angel on Earth), 2008, permanent Australian Poetry grant application marker on paper, 29.5 x 42cm, Cunningham Dax Collection, The Dax Centre Australia Council for the Arts © The artist

Upcoming Australian Poetry Journal 9.1 – ‘DIS—’, 2019, currently in submissions call-out, has poetry guest edited by Andy Jackson and Jennifer Harrison. The volume will feature a number of visual texts from the DAX Centre, which has poetry and visual arts collections curated around the themes of experiences of mental health. The Journal will be publishing poems by poets according to the social model of self-identifying disability, or by poets writing from other viewpoints on disability. From the opening of the guest editors’ provocation: Around one in five of us are disabled, but what about the poems? Maybe, on one level, poetry has always been disabled – the limping pentameter; the disrupted, fragmented speech; the unsettling shapes they make on the page and in the ear. But it also seems that disability has been under-represented, and still holds the Supporting material unfulfilled promise to expand and renew what poetry can do. p. 20 / 20