'The July issue of ABR features journalist Nicole Hasham’s searing Calibre essay on the Pilbara’s pockmarked mining landscape. Historian Joan Beaumont travels to Ambon, asking whether the ever-growing number of Australian war pilgrims reflects a turn towards ‘postmemory’. Timothy J. Lynch considers America’s unending conflict with itself, Ben Wellings writes about another fractured union in the United Kingdom, and Jessica Lake examines the use of defamation in sexual assault cases. There is new poetry from John Kinsella, Julie Manning, and Andrew Sant, and we review Seamus Heaney’s letters, new poetry from Judith Bishop, fiction by Colm Tóibín, Francesca de Tores, Dylin Hardcastle, Percival Everett, theatre, music, television and more.' (Publication summary)
'To obliterate a mountain, one must first drill a series of holes 2.4 metres deep – in either a square or diagonal pattern, depending on the rock type and face condition. A crew moves in to load the holes with blasting agent, typically a mix of ammonium nitrate and fuel oil. Detonators and boosters are laid and an explosive cord is run over the mountain face. A fuse is lit. It explodes the detonator, which explodes the cord, which explodes the boosters, which explodes the blast mix, which in turn explodes the mountain.' (Introduction)
'Pilgrimages to war cemeteries have long been part of the rituals of Australian remembrance. It is easy to understand why veterans and the parents and siblings of the men who died in war make these journeys. But why do younger generations do so today, more than a century after World War I and eight decades after World War II? These were not their battles, nor their wars. Why do they seek out the semi-sacred spaces of Commonwealth War Graves Commission (CWGC) cemeteries? And why do they weep over the grave of someone whom they have never met?' (Introduction)
'‘Tell me your crow name. Tell me the name you will wear to the bottom of the sea,’ begins the narrating voice of Francesca de Tores’s new novel, Saltblood. These opening words, spoken by the central character at what we come to realise is the end of her life, highlight the novel’s key themes and imagery: the play of names and identities, sometimes given and sometimes taken, but always something to be worn or cast off; the call of the sea and its persistent presence of sparkle and depth throughout this chronicle of an unusual life; and the blue-black image of the crow itself, the speaker’s constant familiar, an intimate figure who lurks, ominous and comforting, in the sway of rigging. Unfolding her story in the shadow of imminent death, the reflective, determined voice of de Tores’s narrator is as deep and unpredictable as the ocean itself, thereby setting the stage for a story of introspection and observation, resilience and desire, swashbuckling action, and quotidian seaboard life.' (Introduction)
'In early 1971, two Newcastle teenagers are overcome with sapphic appetites. Each is inflamed with lust for her childhood best friend, the literal girl next door. What to do about this forbidden desire? The first – Limb One – acts on her hunger. She enjoys a golden summer of covert fucking, before being discovered by her parents in flagrante delicto. After being beaten and kicked out of home, she hitches a ride to Sydney. True to herself, she is homeless and alone at sixteen. The second – Limb Two – follows the more well-worn path of repression. She buries her desires, acquires a boyfriend, studies hard. The good girl, beloved by her parents. One conundrum, two choices. How will the dice fall?' (Introduction)
'Stories That Want To Be Told is an oddly flat title for this stimulating anthology. Most of its contents are stories that need to be told. Even those that do not quite succeed in becoming more than their authors’ ‘passion projects’ are likely to leave readers better informed and more curious about little-known facets of today’s world.' (Introduction)
'In her fifth full-length poetry collection, Tossed up by the Beak of a Cormorant, Nandi Chinna continues to write about her engagement with the natural world. Authored in collaboration with Wagaba Nyikina Warrwa Elder, Anne Poelina, this book sees her move north and west into the Kimberley. This is where the Martuwarra (Fitzroy River) runs through Bunuba, Gooniyandi, Nyikina, Walmajarri, and Wangkatjungka Country. It is a place that poetry readers will recognise from the geographically proximate classic Reading the Country (1984) by Paddy Roe, Stephen Muecke, and Krim Bentarrak, Ngarla Songs (2003) by Alexander Brown and Brian Geytenbeek, and the ethnopoetic George Dyungayan’s Bulu Line (2014), edited by Stuart Cooke. With that in mind, Chinna’s Kimberley is a place that is remote for many readers, but not entirely unknown.' (Introduction)
'In Poetry’s Knowing Ignorance, Joseph Acquisto borrows a definition of poetry from Phillipe Jaccottet: ‘that key that you must always keep on losing’. Attempting to know its subject, poetry reveals that there is always more to know. But the French poet’s metaphor, for Acquisto, does not mean ‘simple contingency’. It suggests ‘a complex play of certainty and doubt … that actively resists coming to a conclusion’. We might say that poetry expresses the friction in human experience between time and permanence.' (Introduction)
'In 1888, Melbourne hosted a grand Centennial International Exhibition to mark a century of British occupation of the continent. There, a six-year-old girl called Ethel Punshon was excited to see that she had won a prize of two guineas for her needle-work – an embroidered red felt newspaper holder. Almost one hundred years later, as Brisbane prepared to mark the bicentennial with a modern ‘Expo 88’, Ethel – now known as Monte Punshon – was invited to become Expo’s roving ambassador, as perhaps the only person alive who remembered its predecessor.' (Introduction)
