Mindy Gill Mindy Gill i(8428560 works by)
Gender: Female
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Works By

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1 Polyphony : Laura Elizabeth Woollett’s Unsentimental New Novel Mindy Gill , 2023 single work review
— Appears in: Australian Book Review , October no. 458 2023; (p. 53)

— Review of West Girls Laura Woollett , 2023 single work novel

'Laura Elizabeth Woollett demonstrates her mastery of the polyphonic novel in West Girls. The book, Woollett’s fourth, comprises eleven nimbly interwoven chapters that explore origin, agency, and delusion in a patriarchal society.' (Introduction)

1 Premonition i "The birds talk of nothing. I turn the radio on, the DJ spins", Mindy Gill , 2023 single work poetry
— Appears in: Cordite Poetry Review , 1 September no. 110 2023;
1 Colaba Weather i "Trapped all day in the apartment’s only air-conditioned room.", Mindy Gill , 2023 single work poetry
— Appears in: Cordite Poetry Review , 1 September no. 110 2023;
1 In Each Dimmed Room i "The bright world waits by the open door.", Mindy Gill , 2023 single work poetry
— Appears in: Cordite Poetry Review , 1 September no. 110 2023;
1 Fates of Empires i "The room is trapped", Mindy Gill , 2023 single work poetry
— Appears in: Cordite Poetry Review , 1 September no. 110 2023;
1 In the Oberoi, Two Days Before My Flight i "We made all the right decisions. It’s what", Mindy Gill , 2023 single work poetry
— Appears in: Cordite Poetry Review , 1 September no. 110 2023;
1 Books Roundup Simon McDonald , Mindy Gill , Duncan Strachan , 2023 single work review
— Appears in: Kill Your Darlings [Online] , June 2023;

— Review of After the Rain Aisling Smith , 2023 single work novel ; Eta Draconis Brendan Ritchie , 2023 single work novel
1 No Stranger to Sacrifice Eda Gunaydin’s Début Essay Collection Mindy Gill , 2022 single work review
— Appears in: Australian Book Review , July no. 444 2022; (p. 33-34)

— Review of Root and Branch : Essays on Inheritance Eda Gunaydin , 2022 selected work essay

'Eda Gunaydin’s collection of essays, Root & Branch, centres on migration, class, guilt, and legacy. It joins the surge of memoir-as-début by millennial writers, who interrogate the personal via the political. Gunaydin, whose family immigrated to Australia from Turkey, grew up in the outer suburbs of Western Sydney – home to a historically migrant and working-class demographic. We learn that her father, a bricklayer, has been the household’s sole income provider as the health of her mother, Besra, meant that she ‘never had a job in this country except cleaning’. Gunaydin meanwhile accepted off-the-books employment in hospitality and retail until she was able to ‘crack into a white-collar position’ at the university where she is completing her PhD. This left her hyper-conscious of intergenerational mobility and class disparity. She worries about what it means ‘to instantly unlock an easier life … while others continu[e] to struggle’. Those others being, namely, her family, whose Blacktown postcode means limited access to adequately funded essential services, reliable public transport, and affordable housing. It is a concern driving much of the book – how to reconcile gratitude with guilt, particularly when Gunaydin cannot divorce the opportunities available to her in life from her family’s sacrifices.' (Introduction)

1 y separately published work icon Till ‘Real Voices’ Wake Us, and We Drown : The Mire of Identity Politics Mindy Gill , 2022 23914852 2022 single work column

'We can learn much about a culture by listening to how it talks about its art. The way non-white writers, for want of a better phrase, tend to be reviewed in Australia tells us a lot about how we determine cultural value. Some reviewers place a premium on the author’s biography – her identity – rather than on her work itself. The reviewer avoids critical engagement with the text in favour of a kind of reverential praise of its political messaging. This messaging isn’t necessarily determined by the content of the work, but rather by a mistaken conflation of the work with the author’s cultural identity. It’s a kind of habit, a reflexive way of reading literature, especially literature by non-white authors, as if the mere act of writing a book were fundamentally and inevitably political – or, as they say, an ‘act of resistance’.' 

1 Garden After the Fall i "He is the only still point.", Mindy Gill , 2021 single work poetry
— Appears in: Borderless : A Transnational Anthology of Feminist Poetry 2021; (p. 43)
1 Books Roundup : Permafrost, Scary Monsters, Another Day in the Colony, How to End a Story Ellen Cregan , Mindy Gill , Monique Grbec , Fiona Murphy , 2021 single work review
— Appears in: Kill Your Darlings [Online] , November 2021;

— Review of Permafrost S. J. Norman , 2021 selected work short story ; Scary Monsters Michelle De Kretser , 2021 single work novel ; Another Day in the Colony Chelsea Watego , 2021 selected work essay ; How to End a Story : Diaries 1995–1998 Helen Garner , 2021 single work diary
1 Preaching to the Converted : Burdening Literature with Moral Instruction Mindy Gill , 2021 single work review
— Appears in: Australian Book Review , July no. 433 2021; (p. 15-16)

— Review of Racism : Stories on Fear, Hate and Bigotry 2021 anthology life story

'Sweatshop, based in Western Sydney, is a writing and literacy organisation that mentors emerging writers from culturally and linguistically diverse backgrounds. Racism, their ninth anthology, brings together all thirty-nine writers involved in their three programs – the Sweatshop Writers Group, Sweatshop Women Collective, and Sweatshop Schools Initiative. The section titled ‘Micro Aggressive Fiction’ houses the school students’ work, and the remainder of the anthology includes poetry, fiction, and essays (it can be difficult to distinguish between fiction and non-fiction; the works are not labelled by genre) by emerging writers, though a short story by award-winning poet Sara M. Saleh also appears. This anthology contributes to the recent crop of anti-racist texts aimed at white audiences. Editors Winnie Dunn, Stephen Pham, and Phoebe Grainer write that Racism is for Australians ‘who require an honest reflection of racism that is present and prevalent’. However, unlike other such texts – generally non-fiction works that directly address the issue at hand – anti-racist fiction can have its limitations, frequently risking didacticism.'  (Introduction)

1 Le Méridien i "8 a.m. poolside, two women rolling", Mindy Gill , 2021 single work poetry
— Appears in: Griffith Review , April no. 72 2021; (p. 204)
1 Sudden Landing i "The cement floor is tiled over. And the jungle", Mindy Gill , 2020 single work poetry
— Appears in: Australian Poetry Journal , vol. 10 no. 1 2020; (p. 23)
1 Muses and Acolytes : A Nuanced Look at Art and Friendship Mindy Gill , 2020 single work review
— Appears in: Australian Book Review , September no. 424 2020; (p. 34)

— Review of We Were Never Friends Margaret Bearman , 2020 single work novel

'Margaret Bearman’s We Were Never Friends is a novel that places the myth of the artistic male genius against the critical eye of history. Lotti, the eldest daughter of renowned Australian painter George Coates, narrates from two perspectives: her younger, twelve-year-old self and her present-day one, a trainee surgeon.' (Introduction)

1 Looking for Meaning When It's Simple i "The high Madras sky is closing in on us", Mindy Gill , 2019 single work poetry
— Appears in: Rabbit , no. 28 2019; (p. 117-118)
1 The Phytoplankton i "How vast our equine depths", Mindy Gill , 2019 single work poetry
— Appears in: Plumwood Mountain : An Australian Journal of Ecopoetry and Ecopoetics , February vol. 6 no. 1 2019;
1 Four Years of Februarys i "I am outside your window,", Mindy Gill , 2018 single work poetry
— Appears in: Stilts , August no. 1 2018;
1 The Peacock i "Given apples in the half-sun,", Mindy Gill , 2018 single work poetry
— Appears in: Rabbit , no. 26 2018; (p. 98-99)
1 Dawn i "Nothing is left of the radiant city.", Mindy Gill , 2018 single work poetry
— Appears in: The Lifted Brow , September no. 39 2018; (p. 22)
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