'Holly Friedlander Liddicoat’s debut collection CRAVE is raw, skeptical, sometimes drunk, always fearless, and says ‘sry if this poetry ruins yr party’ to Sydney’s Inner West, as it flips the bird at real estate agents, SUVs and a plenitude of jerk-offs. It travels too—overseas, into the outback, into memory, through trips at parties and pubs, and the journeys of close relationships—all while documenting a coming-of-age.
— Toby Fitch' (Publication summary)
'First books are a big occasion for poets. Their publication makes something heretofore unofficial official while announcing the poet as one committed to ‘the art of language’, as Gig Ryan describes poetry. Their publication chronicles and makes tangible the labour of what is often a long time—of feeling out, of experimentation—for writers attempting to find a voice, a language, even as they’ll discover post-publication that finding voice and language is a forever concern. And so, kudos to Rabbit Poetry Journal and its Rabbit Poets Series imprint, which publishes slim first books, often strong selections of poetry by emerging poets who might not otherwise have had such an opportunity in the frankly saturated Australian poetry scene. I’m not saying there are too many poets—if only there was more poetic, lateral thinking in the public sphere—but in terms of a market, it’s a positive sign when first books in particular are given space and attention.' (Introduction)
'First books are a big occasion for poets. Their publication makes something heretofore unofficial official while announcing the poet as one committed to ‘the art of language’, as Gig Ryan describes poetry. Their publication chronicles and makes tangible the labour of what is often a long time—of feeling out, of experimentation—for writers attempting to find a voice, a language, even as they’ll discover post-publication that finding voice and language is a forever concern. And so, kudos to Rabbit Poetry Journal and its Rabbit Poets Series imprint, which publishes slim first books, often strong selections of poetry by emerging poets who might not otherwise have had such an opportunity in the frankly saturated Australian poetry scene. I’m not saying there are too many poets—if only there was more poetic, lateral thinking in the public sphere—but in terms of a market, it’s a positive sign when first books in particular are given space and attention.' (Introduction)
