y separately published work icon Arena Quarterly periodical issue  
Alternative title: Accelerated Worlds
Issue Details: First known date: 2022... no. 11 Spring 2022 of Arena Quarterly est. 2020 Arena Quarterly
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Contents

* Contents derived from the , 2022 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Firei"nothing is as final as fire", Edith Speers , single work poetry (p. 31)
Lighti"Look at the light upon the Earth—", Edith Speers , single work poetry (p. 31)
Exercises for Free Willi"jump to conclusions", Edith Speers , single work poetry (p. 31)
'Horse' The Making of an Australian Working Man: Dinny McQueen, 1899–1971, Humphrey McQueen , single work essay
'My father has been dead for fifty years. He was going on for seventy-two, and had been doing, on that Friday in late October 1971, what he had done for most of his life: labouring in a tannery. As usual on Friday nights, he brought home fish-and-chips and a bottle of Fourex, to fall asleep in front of the television. My mother could not wake him.' 

 (Introduction)

 (p. 75-80)
Techi"I remember the old man", John Falzon , single work poetry (p. 81-82)
A May Day Poemi"Here is where we start from", John Falzon , single work poetry (p. 82)
Credibility Gulf, Kathleen Mary Fallon , single work essay
'In January 2022 I performed my three one-woman pieces—whitenoise: 12 ghosts—over three nights at Theatre Works Mullet Festival. Each piece focused on a different form of violence: Laying Down the Law looked at the gendered violence of the Lindy Chamberlain case; What Happened Was This was the story of LebaneseAustralian Mamdouh Habib, his kidnapping, imprisonment and torture; Credibility Gulf, the third, focused on the first Gulf War. These were significant and iconic moments that have settled deep into our collective memories and cultural/political unconscious. I wanted to put the bodies and stories back together, reassemble them differently to create a new, more human, empathetic, and politically aware re-assessment of what really happened. I wanted whitenoise to re-contextualise these events, allowing the audience to re-member and re-appraise their impact: to activate an awareness of why re-engagement with these iconic events and characters—their ghosts—is necessary. I hoped to give the audience some conceptual and creative tools to extrapolate to similar events, including those taking place today.' (Introduction)
 (p. 83-85)
Credibility Gulf, Kathleen Mary Fallon , single work drama (p. 85-91)
Black Summer Reflections, a 2020 Looking Glass, Carolyn Masel , sequence poetry (p. 92)
Discoveries and Cover-upsi"They wouldn’t tell us where he’d gone.", Carolyn Masel , single work poetry (p. 92)
Poverty Theologyi"Was it bats in wildlife markets", Carolyn Masel , single work poetry (p. 92)
Lord Howe Islandi"In 1918 ravenous rats and mice", Carolyn Masel , single work poetry (p. 92)
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