y separately published work icon The Lifted Brow periodical issue  
Issue Details: First known date: 2016... no. 30 June 2016 of The Lifted Brow est. 2007 The Lifted Brow
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Contents

* Contents derived from the , 2016 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Fatal Mountain, Sacred Mountain, Lauren Carroll Harris , single work criticism
'Cinema is full of representations of the landscape that inspire terror. The land is a scary place - it is to be feared or conquered. Mount Everest is that most perilous and conquerable landform, inspiring its own canon of mountaineering films. Jennifer Peedom's Sherpa is the most recent of that canon: it is a climbing film, an Australian film, and a documentary about the deadliest day in Everest's history.' (Publication abstract)
(p. 21-23)
How to Build a Universe, Emily Meller , single work prose

'Whenever you build anything, you start with the parts.'

(p. 27-29)
Dreams in Daylight Country, Luke Carman , single work criticism
'This is how one becomes, through dreams, the perfect autodidactic. The dream itself might not be much chop, but then my fiction is so short that I can dine out on even the briefest, vaguest visions for an entire book. It might not be a particularly interesting dream either - but then the audience for Australian short fiction is so slim that getting to know the desires of readers is, for me at any rate, something of a waste of time. Besides, what kind of writer concerns themselves with what the reader wants? Not a very interesting one. For interesting writers, the relationship between reader and writer is pure sub and dom. The writer commands, the reader obeys. William S. Burroughs once said that teaching "writing" was like "trying to teach someone how to dream." I suspect he had it right in a sense: if you cannot dream, in one form or another, then don't bother writing at all. Perhaps those with pretensions of teaching fiction to the young and the restless should be more concerned with the ethereal realms than they seem to be at present. Politics and imagination are overlapping magisteria - the two realms need not be addressed in the absence of the other - but it appears to me that the literature most in production in this troubled country is a little too beholden to its own seriousness, and far too down to earth. The rabid effacement that commercialisation demands of our higher education institutions is one exterminator - a 'community arts' culture which seeks to trade on the commodification of every aspect of the 'writer life' and reduces literature to an economy of gossip is another. But there is plenty of blame to go around.' (Publication abstract)
(p. 49-52)
Sometimes the Ocean Falls on You, Even When the Coastlines Are Far Awayi"Seagulls scattered over granite steps like hot white ash", Izzy Roberts-Orr , single work poetry (p. 53)
The Art of Breaking, Rebecca Jessen , single work prose (p. 59-61)
Madness and White, Anezka Sero , single work short story (p. 63-67)
A Safe Distance, Rachel Hennessy , single work prose
'Every time I go for a walk in Turkey I see a dead thing: a blob of a baby mouse, its entrails rusting to the steel railing; a waterrat with wet fur in spikey clumps, tail rotted; a ginger cat in the grass, one of its legs chewed off. I could take these as signs and hurry back to the pristine apartment I'm staying in where my two daughters are watching The Disney Channel. But signs of what?' (Publication abstract)
(p. 74-75)
Diamonds in the Red Alley, Lee Kofman , single work prose (p. 77-80)
Dame Claudia Gunn (1885-1975), Ryan O'Neill , single work short story (p. 101-105)
Objects in Mirrors, Antonia Hayes , single work essay
'When I held the finished copy of my novel Relativity for the first time, I didn't feel emotional for the reasons I'd expected I would. I felt no pure euphoria because I had a published book. What I did have in my hands was a physical representation of eight years of my life. I could see them, hold them; they'd been given a shape, encapsulated within an object.' (Publication abstract)
(p. 107-112)
Equal Breaths, Rosie Funder , single work autobiography

'Naked from the waist down, with one foot on the lip of the bathtub and the other on the cold tile floor, I looked up at the ceiling and let Mum push the tampon further inside me. I had tried to do it myself, but there was a wall. "My body must be different to yours," I said. She laughed, unable to meet my seriousness. I could hear Dad on the other side of the door: his footsteps and the sound of taps turning on, the whispered scream of running water. Mum lowered her voice, indulging a charade of conspiracy. "Trust me, Rose." We both looked away as she pushed one more time. When the pain left my body I felt a mixture of relief and shame. She had been right. I felt safe knowing how unmysterious I was to her.' (Publication abstract)

(p. 113-114, 116-117)
Three Travellers, Elizabeth Bryer , single work short story
'It's the year 921 and Ibn Fadlan, a theologian in the court of Abbasid Caliphate al-Muqtadir, is making a 4,000-kilometre journey from Baghdad to the encampment of the semi-nomadic Bulghar khan on the Volga River. He is serving as secretary to the caliph's envoy.' (Publication abstract)
(p. 121-124)
Law School, Benjamin Law , single work column
'Jenny: My answer is, if you're paying for your own braces, you should be bloody proud of yourself! And if your parents are paying for them, you should count yourself lucky and appreciate them. Dentistry is expensive. My niece's child had to get molars taken out and it cost her $3,000. If I had crooked teeth, I would get braces. Whenever I look at people with them, I think, "Oooh, they've got money." So why are you feeling shameful about your braces?! Some people might find them a turn-on; you never know! There are so many weird people out there. This world is filled with them. And in the end, you'll have the perfect smile and perfect bite. Okay: it's not attractive necessarily, but it's not ugly to me either.' (Publication abstract)
(p. 125-127)
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