Cirrus@Austlit

'We, as a nation, voted No to the Voice referendum—as we have for most referendums in the colonial history of this colony: because our ‘sacred’ constitution should not be changed, so they say; because of a belief the Constitution, the ‘birth certificate’ of the nation, is inviolable and unchangeable. It makes me wonder.' (Introduction)   

'The best literary short fiction gives the author an opportunity to stretch their limbs from poetry into abstraction, painting emotion in words without the need to make figurative or even internal sense. The story does not need to be a medium for delivering ‘story’, as such, but can become a container of emotion, for the feelings the artist intends to deliver. The emotion delivered by literary fiction teaches us to feel empathy for the characters, making the short form an effective empathy delivery vehicle.' (Introduction)

'A few years ago I camped with my beloved in Jalmurark Campground, in Mangarayi and Yungman Country in the top end of the Northern Territory, near the property about which We of the Never Never was written by white woman Jeannie Gunn, who lived there for about a year. It was there that I was woken by the monstrous screams of feral donkeys, a noise that is used by sound designers all around the world whenever they need a terrifying, unearthly sound. And it was there I discovered for the first time that Australia has a feral donkey problem.' (Introduction)

'My dearest beloved Samantha I hope this letter finds you safe and well at home, in the name of our Queen and most holy Empress.' (Publication abstract)

'These are troubling times. The world is a dangerous place,' the voice of the Chairman said. 'I can continue to assure you of this: within the Wall you are perfectly safe.'

'Christine could not sleep, she could not wake, she could not think. She stared, half-blind, at the cold screen of her smartphone. She was told the Agency was keeping them safe from the dangers outside, an outside world she would never see.

'She never imagined questioning what she was told, what she was allowed to know, what she was permitted to think. She never even thought there were questions to ask.

'The enclave was the only world she knew, the world outside was not safe. Staying or leaving was not a choice she had the power to make. But then Christine dared start thinking . . . and from that moment, danger was everywhere.

'In our turbulent times, Claire G. Coleman's Enclave is a powerful dystopian allegory that confronts the ugly realities of racism, homophobia, surveillance, greed and privilege and the self-destructive distortions that occur when we ignore our shared humanity.'  (Publication summary)

'Words are weapons. Stories are dangerous, for they define who we are, they define our history; they can be weaponised. Stories and history are tools and weapons of war. Stories can be used as part of genocide, because if you say a people are extinct other people might believe it. Stories can be part of genocide because you can use stories to erase a culture.'  (Introduction)