Cirrus@Austlit

'Ngapa William Cooper was born out of a rich collaboration between composer Nigel Westlake, singer-songwriter Lior, and performer and academic Dr Lou Bennett AM. With Westlake leading from the podium, these acclaimed artists will bring their dynamic stage presence to the orchestral premiere commissioned by AYO.

'Ngapa William Cooper explores the strength and compassion of Yorta Yorta activist Uncle William Cooper. In 1938, Cooper led the Australian Aborigines’ League through the streets of Melbourne in the only non-Jewish protest worldwide against the events of Kristallnacht in Nazi Germany. Using English and Yorta Yorta language, it is a celebration of a man who left behind a ‘legacy of resistance, solidarity and empathy’.'

Source: Sydney Opera House.

'Ostensibly, Life with Birds is about the author’s search for her father, a Vietnam War veteran who died when she was young and whose story she hardly knew. As I read it, though, I was reminded of a line from Svetlana Alexievich’s seminal oral history The Unwomanly Face of War (2017): ‘Women’s stories are different and about different things.’ In the end, Life with Birds is less about men and war than about the women left behind – in this case, three daughters and a wife – and the shape of their lives in the wake of his silence, and then his absence.' (Introduction)

'The runner-up in this year’s Calibre Essay Prize, Sarah Gory’s essay ‘Ghosts, Ghosts Everywhere’ confronts spectres of the past in order to pose questions about how to live ethically in the present and about what responsibilities we bear towards the future. Drawing on a wide range of writers and thinkers as well as her grandfather’s experience of the Holocaust, Gory plots the process by which one generation’s traumatic suffering becomes another’s imaginative investment. As Gory observes, rituals of memorialisation, public and private, are beset on all sides by the snares of forgetfulness, by the temptation to ‘relegat[e] to the past what is ongoing’. Shifting between recollection and rumination, the essay refuses to yield to this temptation, proceeding through a series of fragments, ghostly demarcations of historical patterns that continue to repeat.' (Introduction)

'At the beginning of 100 Essays I Don’t Have Time to Write (2014), author, mother, and playwright Sarah Ruhl notes: ‘At the end of the day, writing has very little to do with writing, and much to do with life. And life, by definition, is not an intrusion.’ Ceridwen Dovey and Eliza Bell’s Mothertongues embraces, embodies even, this collapse of the boundaries between living and writing. Rather than extolling the proverbial ‘room of her own’, Bell and Dovey are asking us to heed the kinds of knowledge that come from being embedded in the everyday. A hybrid, genre-defying book about contemporary motherhood, Mothertongues is woven from fragments based on the authors’ own lives, from texts both historical and literary, from imagined conversations and family histories, from the act of friendship itself. It is intimate, moving from levity to depth, the corporeal to the cerebral, in the space of a page, a paragraph, a breath. It is a collection of ephemera – a stray thought, the contents of a handbag, breastfeeding diary excerpts, book lists, text message exchanges – that, taken together, form a living archive of twenty-first-century motherhood.'  (Introduction)

'Queensland Poetry Festival is Australia's finest showcase of poetry and spoken word. Now in its 17th year, the festival gathers a diverse and exciting selection of the finest contemporary poets and artists from around Australia and across the seas. With this intimate collection QPF invites you to take a poetic journey of love, laughter, and loss.' (Publisher's blurb)