Cirrus@Austlit

'A dazzling and impressive follow-up to Money's highly acclaimed debut, how to make a basket.

'We gather marks. Our bodies, our stories, our histories and our world are made of an infinite amount of visible and invisible moments. We make marks to record, to remember, to honour, to protest. We mark time, for no matter how many times the sun sets, always it rises in a new dawn.

'Jazz Money returns with her much anticipated new poetry collection to ask about all the ways we rise to a moment. mark the dawn is a celebration of community and gathering, while negotiating the legacies of intersecting histories as a queer First Nations person. These poems sing out with love declaring that, despite everything that has come before, we remain glorious, abundant, sexy, joyous and determined.' (Publication summary)

(Publication summary)

'Jazz Money is a poet and artist of Wiradjuri heritage creating work across installation, digital, performance, film and print. Money’s first poetry collection, how to make a basket (UQP, 2021) was the 2020 winner of the David Unaipon Award. This transcript documents the in-conversation between Money and Sara M Saleh, a poet, writer and human rights lawyer. This exchange marked the launch of how to make a basket and occurred on the unceded lands of the Dharug people in December 2021 at Arts & Cultural Exchange (ACE, formerly Information + Cultural Exchange). This event was co-presented by ACE and Sweatshop Literacy Movement. Throughout their conversation Money and Saleh share necessary and valuable thoughts about poetry as a democratic form, the power of story in contributing to personal and collective identities and the ethics and responsibility of writing.' (Introduction)

'A powerful and lyrical collection of poetry by the winner of the 2020 David Unaipon Award.

'the end of the world was marked with beautiful light we should have known

'Simmering with protest and boundless love, Jazz Money's David Unaipon Award-winning collection, how to make a basket, examines the tensions of living in the Australian colony today. By turns scathing, funny and lyrical, Money uses her poetry as an extension of protest against the violence of the colonial state, and as a celebration of Blak and queer love. Deeply personal and fiercely political, these poems attempt to remember, revision and re-voice history.

'Writing in both Wiradjuri and English language, Money explores how places and bodies hold memories, and the ways our ancestors walk with us, speak through us and wait for us.' (Publication summary)