Cirrus@Austlit

'I feel like I need to come out every day. I’m pushing the stroller, fishing out the dummy, pointing out dogs, but this isn’t what it looks like. At the playground or the checkout, I take the nods and maternal solidarity, staying inside the parenting illusion until it feels slightly disingenuous. I am not the mother. I am an aunt instead, if ‘instead’ is even the right word. There are categories – infertile, childless by circumstance, childless by choice – and within these, more specific groups like the Birthstrikers, who are publicly delaying procreation until there is climate action. Being an aunt of the Anthropocene is none of these, and all of them at once.' (Introduction) 

'On Instagram, old questions about sincerity and identity in the lyric voice meet new pressures from the digital attention economy. This collision has produced evolutions in form, but also prompted critical questions about the Instapoem’s commodification of selfhood and about the vexed categories of aspiration, representation, and authenticity in contemporary poetics.'  (Introduction)

'Since the middle of the twentieth century, the phenomenon of public apology has become increasingly prevalent and visible, enacted in contexts ranging from the South African Truth and Reconciliation Commission to the Australian government’s apology to the Stolen Generation, to the iconic genuflection of Willy Brandt before the Warsaw Ghetto Monument. While research surrounding public apology (particularly in the context of work on trauma, memory and reconciliation) has also become increasing prevalent, literary representations of public apology remain under-researched. Works like J. M. Coetzee’s Disgrace (1999) and Gail Jones’ Sorry (2007) present something of a scholarly conundrum. In the final historical and cultural assessment of public apologies, how are imaginative representations of apologies to be understood? Do they participate in the apologising process, or do they simply describe it? What implications does a judgement either way hold for scholarship on the larger relations between art and civic life? This paper finds a way into some of these large questions by considering the specific case of Judith Wright and the forms of literary redress she made to Indigenous Australians. ' (Introduction)