y separately published work icon The Lifted Brow periodical issue  
Issue Details: First known date: 2019... no. 42 June 2019 of The Lifted Brow est. 2007 The Lifted Brow
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AbstractHistoryArchive Description

'A  poet friend told me recently that they wished their poem was a brick. A festival director friend said that it's just writers having a chat. And a friend with a grant to write a novel has just taken up carpentry.' (Editorial introduction)

Notes

  •  Only literary material by Australian authors individually indexed.  

Contents

* Contents derived from the 2019 version. Please note that other versions/publications may contain different contents. See the Publication Details.
The Critic in the Episode 'Mother Country', Jana Perkovic , single work essay
'“In the 1960s and ’70s I grew up on a sheep farm in north-eastern Victoria,” said choreographer Rosalind Crisp in a very plain voice, somewhere at the start of her lecture-performance DIRtywork. Crisp had spent more than a decade dancing and choreographing in France; she only returned a few years ago. She continued, “My parents, my three siblings, myself and our dogs and cats ate sheep nearly every day.”'

 (Introduction)

(p. 11-15)
Pont Vs Envy, Antonia Pont , single work essay

'Don't let that quote up there scare you. My interest in this essay is 'my interest in', my curiosity about, envy. Operating more as Nietzschean difference than as a negating, the 'vs', in other words, is active rather than adversarial. The take-home - to save your reading on - pertains to dosage. While grim to experience, envy insists; it isn't going anywhere. Even as visual trace, as word, it cuts a compelling figure. Four letters, in their uppercase guise: sloping, canyonesque, stalactite-mite-like. The 'E' faces its companions - who wait, lined up - and it contemplates its relation to them. They occupy space nearby, are proximate, parallel, but do not coincide with the 'E'. Envy, as philosopher Agnes Heller reminds us in 'A Theory of Feelings', tends to occur most virulently between 'similars', not across starker hierarchies.' (Publication abstract)

(p. 25-30)
Rahat, Eda Gunaydin , single work essay
'That there is no easy translation for 'awkward' in other languages suggests that I'm only myself in English. This feels like a loss because I'd like to think of myself as Turkish, too. An internet search on this subject - is awkwardness an Anglophone phenomenon - will throw up near-miss translations, foreign words that instead capture strangeness, discomfort, ugliness, untidiness, clumsiness. Some languages have resorted to borrowing the word from English wholesale - Spanish and German use 'awkward' the way they use 'download' or 'spinning'. In Turkish we say tuhaf or sakar. One means strange, the other clumsy.'

 (Publication abstract)

(p. 36-41)
Bloodthirst, Mira Schlosberg , single work essay

'In February of 1985, ecofeminist philosopher Val Plumwood was attacked by a saltwater crocodile. She was in a red plastic canoe, in the part of the river she was told not to go to. She tried to jump from the canoe into a tree to escape the crocodile, but the crocodile jumped too. It death-rolled her three times in the water before she managed to escape and crawl to a place where a ranger found her.' (Publication abstract)

(p. 42)
Stability Abandons at Willi"When home looks at me", Magan Magan , single work poetry (p. 62)
Scissorsi"Your uncle thinks it’s brutal", Magan Magan , single work poetry (p. 62)
The Brother Ofi"FIRST THERE WAS. THEN WE. CAME DOWN THE MOUNTAIN-SIDE. YOU, ME AND THE BROTHER OF.", Bella Li , single work poetry (p. 64)
The Bathtubi"instead, the poem begins when", Duy Quang Mai , single work poetry (p. 65)
Along the Airport Hughway, The Sky Seared Singedi"i always imagine how it ends", Duy Quang Mai , single work poetry (p. 66)
/təˈdeɪ/i"Heart. I’m here thinking back to the summer hours", Duy Quang Mai , single work poetry (p. 67)
To Un Fold a Body of Small Talks, Jessie Berry-Porter , single work prose

'If a person bi"en by a mad dog looks in the mirror, they will see the animal's image reflected there. and ese are not my words, they are Paul the Silentiary's words. A silentiary is an advocate for silence: did Paul occupy a quiet body? I wonder this now but not o!en. When I imagine his words and his mirror, I assume a loud body, something collapsing. Either way, it does not ma"er. I only need to write the body down for it to remember itself.' (Publication abstract)

(p. 73-80)
'We Need to Talk about Antarctica' Draft Index, Bella Klaver , single work prose

'Year that an Australian Government environmental impact assessment recommended against the construction of a runway on rock anywhere within Australian Antarctic Territory: 2003.'  (Publication abstract)

(p. 97-99)
Public Libraries, Vanessa Giron , Jini Maxwell , Eileen Chong , Sumudu Samarawickrama 8144124 8144124JHTKKCIFZU , Ruby Pivet , Nathan Sentance , single work essay

'We live in an era of hostile architecture, disinformation, and privatisation. Our right to exist in public freely is increasingly compromised. In 2018, Forbes ran an op-ed suggesting that libraries could be replaced by Amazon. In the same week, Omar Sakr wrote a twitter thread celebrating the social, intellectual, and domestic role of Liverpool public library in his teenage years. When Vanessa Giron, the commissioning editor for this series, wrote a Brow by Numbers for TLB 39, she focussed on the increase in public library membership and patronage, and paradoxical decrease in staff and funding on both a state and federal level. It seems we need public information and safe spaces for congregation and learning now more than ever—but how ‘public’ can these public spaces be when they are entrenched in the logics of colonialism and capitalism? Are these spaces truly free, if they propound colonialist narratives under the guise of objectivity. Are they truly public, if they are inaccessible to those who would benefit most from them?

'We asked five writers to consider the public, personal, and structural role that public libraries play in our society. The responses from our writers were generous, ranging from writing from poetic, to academic, to critical, to playful. For some, public libraries provided access, safety, education, or entertainment. For others, they may symbolise hierarchies that privilege particular narratives over others. They conjured memories, provocations, and projections about the future of public information and public space.

'We hope this series provides, if not answers, a richer understanding of the stakes and terms of the issue at hand.' (Introduction)

(p. 101-106)
Red Belly, Pink Skin, No Belly, Chicken Shit, Katerina Gibson , single work prose
'A woman is telling me shes basically my grandmother. She tells me this while we sit opposite each other in her backyard, over the scraps of an almost-finished Christmas lunch. Although it's not Christmas; it's Boxing Day. From her pocket she removes a fifty-pack of Peter Jacksons, and taps the bottom of the box so a single cigarette slides out. In the box I can see one cigarette turned upward, a bloom of tobacco in a sea of butts. A lucky cigarette, a friend told me once, although that friend has long-since moved onto the more economically viable pouch. The woman - Finnie is her name, I have no idea what it's short for - lights her cigarette, picks at the carcass of a Coles rotisserie chicken. I think about how much more depressed I am since I got Netflix. She tells me she feels as if she is my grandmother; I can call her anytime, with any problem.'  (Publication abstract)
(p. 109-111)
Hot Chick, Emma Hardy , single work prose
'She's wearing fishnet stockings, red high-heeled boots and white knickers stretched tight across her ass. She looks over her shoulder, a surprised squawk on her face. She's mid-way through chowing into a burger, grease oozing over her feathered hands. Her comb is a seductive red, her beak stained with lipstick. and is chick has titties, too: her breasts are huge.'

 (Publication abstract)

(p. 118-120)
Early Spring Everywhere, Lea Antigny , single work prose

'There are two ways to walk from my workplace to the post office. If you take the long way, you can walk past the old-fashioned bookbinding office where the dog with bowed front legs lives. and ere are pedestrian lights on the long way. The shortcut takes you down a narrow laneway, behind other offices and studios, past old terraces tucked away, facing inwards, oblivious to the traffic just around the corner. Along this laneway lives an enormous, thriving bougainvillea vine. As the city warms it grows noticeably thicker and more determined. It is sturdy and wide and appears so solid and plump that you might imagine one of Anne Geddes' babies curling up there for a coral-tinted nap. Is there a picture of early infancy more dreamlike, more implausibly serene than the ones Anne Geddes staged? The babies of that world do not scream, or cry, or ask for anything at all. they are chubby and quiet, they are still, and they sleep. They appear safe, as though their future is assured.' (Publication abstract)

(p. 123-124)
Law School, Benjamin Law , Jenny Phang , Beatrix Urkowitz (illustrator), single work column (p. 125-127)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 21 Jun 2019 08:35:29
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