Cirrus@Austlit

'This is a story of how Debbie Rose grounded my research in unlikely ways and how I repaid her by writing something critically provocative about the field she helped found: the environmental humanities. I don’t feel bad about this, which is odd given my learned tendency towards feelings of guilt. But as a strange kind of free verse elegy I want to explore the ambivalent state I find myself in here: on one hand grieving a lost mentor and friend, and on the other feeling committed to my critical position.'  (Introduction)

'Corporate and government place-making practices are designed to make place a more desirable commodity. In Sydney, this activity capitalises on the extant settler colonial drive towards property ownership. In this context, the labours of artists are often engaged to cultivate an interesting and sophisticated cultural atmosphere in areas that are undergoing top-down redevelopment. The role of literary arts is curious in this context because it does not cultivate the same configurations of community as other types of creative practice. By drawing a distinction between a reading (a live event) and close reading (a studious reflection), this essay engages in the latter as a form of counter-cultural place making. This is specifically the case in relation to two works—Fiona McGregor's novel Indelible Ink (2010) and Brenda Saunders' poem "Sydney Real Estate: FOR SALE" (2012)—that represent critical perspectives on the commodification of place. By engaging in a close reading of these texts, this essay serves the dual purpose of exploring the role of ecocritical literary studies in the real-world oriented field of Environmental Humanities.' (Publication abstract)

'Punks (of the 70s and 80s kind) were not known for their optimism. Quite the opposite in fact. Raging against the establishment in various ways, there was “no future” because, according to the Sex Pistols, punks are “the poison / In your human machine / We’re the future / Your future”. To be punk, was, by definition, to resist the future.

'In contrast, the most basic definition of solarpunk — offered by musician and photographer Jay Springett — is that it is a movement in speculative fiction, art, fashion and activism' (Introduction)