y separately published work icon Meanjin periodical issue  
Issue Details: First known date: 2015... vol. 74 no. 4 December 2015 of Meanjin est. 1940 Meanjin
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Contents

* Contents derived from the 2015 version. Please note that other versions/publications may contain different contents. See the Publication Details.
National Accounts, Robyn Williams , single work essay
'My friends in England are puzzled. Again. They look at Australia as they would stare sorrowfully at a teenage relative, off the rails...'
(p. 1-2)
Ondaatje in Somerset, Geoff Lemon , single work autobiography (p. 3-7)
Hiroshima 70, Kumi Taguchi , single work autobiography (p. 7-8)
Check Your Entitlement, Damon Young , single work essay
'We arrive in the world screaming, smeared in blood and shit. Small animals, abject and abraded by things. The inch between animation and termination is a few days warmth. And life is chiefly sleep anyway: a blur, a craving, then oblivion again. Our divinity is Ananke: necessity.' (Abstract)
(p. 8-11)
White's Brown Woman, Denise Varney , single work essay
'I'm reading Patrick White's play 'A Cheery Soul', first published in Four Plays by Patrick White in 1965 and first staged at the Union Theatre, University of Melbourne, in 1963. It is built around a misogynist construct, the difficult woman, here the aged Miss Docker, a woman who is difficult to like, difficult to be around and makes difficulties for others. She is also, ironically, cheerful and good, the cheery soul of the title, and oblivious to the disparagement but not the condescension of others. This is apparent early in the play when the respectable Mrs Custance, who is moved to perform an act of kindness towards the less fortunate, invites the homeless Miss Docker to move into their 'little glassed-in veranda room'. Mrs Custance refers to her as 'a dedicated soul' but tends to agree when Mr Custance, a man with a 'Nietzschean moustache', likens it to 'the soul of a bulldozer'; others such as the Vicar denounce her 'militant virtue'.' (Abstract)
(p. 11-12)
Australia in Three Books, Peter Pierce , single work essay
Some of the finest works of Australian fiction were written by women who had left the country long before, yet whose memories of it were the strongest inspiration. Aged eighteen, Henry Handel Richardson left Australia in 1888 to study music at Leipzig. Her trilogy 'The Fortunes of Richard Mahony' (published in one volume in 1930) was written and researched in London, save for a two-month visit to 'Australia in 1912. Christina Stead, whose childhood was spent at Watsons Bay in Sydney before the Great War, dreamed passionately of a world elsewhere. Savings from teaching and office work enabled her to take ship for London in 1928. Hers would be one of the most fabled expatriate careers in Australian literature. While her novels remained unpublished here until the 1960s, she forged a reputation in Britain and the United States, before coming back in 1974 to a strange place that was in some ways still home. Her novel For Love Alone (1944) draws to rich effect on her young adult years of struggle in Sydney and then in London, as it tells the story of the indomitable Teresa Hawkins.' (Abstract)
(p. 13-15)
The International Prototypei"Her polished body does not", Benjamin Dodds , single work poetry (p. 14)
Casuarina Cunninghamiana - River She-oaki"It must be midday: gathered to it like flood wrack is the dark...", Russell Erwin , single work poetry (p. 26-27)
'The Long Letter to a Short Love, or ...' : In Her Love Letter Novella to Martin Amis, Germaine Greer Bared Her Fragile Heart and Complex Soul, Margaret Simons , single work essay

'It could be worse. It has been worse. It will get worse. For the moment, though, it's not too bad.' Germaine Greer was sitting in the British Airways Monarch lounge at Heathrow Airport, 'for all the world as if I was rich and famous'. It was 1 March 1976, and she was one of the best-known people in the world.' (Abstract)

(p. 28-44)
Amaranthinei"There's a tree branch pressed against your window...", Louise Carter , single work poetry (p. 41)
See That Gully : The Ghost I Have Become in a World of Asbestos, John Kinsella , single work prose
'I tell him, My name is Ghost. And at that very moment a kookaburra laughs. I find myself thinking that no-one owns the laugh of a kookaburra, not even the kookaburra. It's not copyright. And kookaburras have only been over here, here in the West, for a hundred or so years. People from t'other side often don't realise that, thinking their way is the normal way. Maybe lyrebirds can mimic a kookaburra's call where they come from. Wouldn't know - have to look it up. I can see from the blood in his cheeks, his scrunched eyes, the mild tremor taking hold of his limbs, that he thinks I am laughing at him. I'm not. I am simply saying, My name is Ghost...' (Abstract)
(p. 45-50)
Searching for a Cigarette in the Blackout After a Floodi"I find it hard to remember...", Brian Purcell , single work poetry (p. 48)
Written in My Body, Na'ama Carlin , single work autobiography (p. 52-58)
Bachi"St Thomas's, Leipzig, all around music, wings of counterpoint...", David Wood , single work poetry (p. 56)
That’s Nobody’s Business but the Turks’, Shane Maloney , single work autobiography (p. 59-62)
The Questioni"Each day a homeless man picks...", Nicolette Stasko , single work poetry (p. 61)
In Their Apartmenti"She's caught the greys, apostrophic above the ears...", Daniel Pilkington , single work poetry (p. 63)
Sydney Takes Shape : Re-reading Christina Stead's 'For Love Alone', Madeleine Watts , single work essay
'The shape of the city is hazy. From above, Sydney looks like somebody spilled ink on a map, let the rivulets run and shrugged when the mess began to dry, saying 'fine, that can be Sydney'. The way it actually happened wasn't so different. The city was first a prison, not a place. Roads were built with no logic or forethought. The city sprang up hastily, and it was too hot and too hard ever to go back and try to make sense of it. The roads are thin and winding. They adhere to no grid. The tree roots splinter the bitumen. Sensible-seeming routes peter out into dead ends and one-way streets.' (Abstract)
(p. 64-70)
Jealousy?i"Were the moon a laughing face...", Trevor Bailey , single work poetry (p. 68)
Things on an Iron Tray on the Floori"You have to hand it to the artist...", Trevor Bailey , single work poetry (p. 71)

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Last amended 24 Feb 2021 14:41:34
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