Cirrus@Austlit

'In her debut essay collection, Peripathetic: Notes on (un)belonging, Cher Tan turns her maverick attention to the possibility and power of resistance. Tan’s essays rise out of a defiant, DIY sensibility and sustain a dissident energy. They examine how meaning, purpose and change can be wrought within – and in opposition to – our digitally networked, late-capitalist world.' (Introduction)

'In this fictocritical essay I enact methods and processes by which object encounters can be written and consider how the relationship between writer and objects can be co-constitutive.'  (Publication abstract)

'To be gentle is to resist the privileging of command above compassion. It is a quiet voice, a persistent whisper, calm and consoling. Ferocity is an armour, a forceful expression of resolve and protection. To be fierce is to know the intensity of the edges of feeling. It is the voice that calls out, intending to be heard.

'Having spent her life in city environments, Vanessa Berry’s experiences with animals have largely been through encounters in urban settings, representations in art and the media, and as decorative ornaments or kitsch. The essays in Gentle and Fierce suggest that these encounters provide meaningful connections, at a time when the world we share with animals is threatened by environmental destruction. Berry responds with attentiveness and empathy to her subjects, which include a stuffed Kodiak bear, a Japanese island overrun with rabbits, a porcelain otter and Georges Perec’s cat. The essays are accompanied by illustrations which reflect her eye for detail and her background as an artist and zine maker.'

Source : publisher's blurb

'At my desk in the Mitchell Library Reading Room I picked out a small cardboard folder from the pile of books and boxes beside me. Opening it I carefully removed a thin envelope, an item I had been curious to inspect after finding it listed in the library catalogue. ‘The ‘invisible hair net’: fully sterilized / made expressly for David Jones Sydney’, was, according to the catalogue summary, a ‘Specimen of a hair net packaged in an envelope. The packaging includes a black and white illustration of a woman with styled hair, presumably the result of wearing the invisible hair net.’' (Introduction)

‘These places were like resistors on a circuit board. My thoughts stuck to them. They had auras: each gave me a strong feeling that there was, embedded amid the everyday, an order of unpredictable things.’

In her delicately wrought essays and hand-drawn maps, Vanessa Berry describes her encounters with unusual, forgotten or abandoned places in the city in which she was born and raised, using their details to open up repositories of significance, and to create an alternative city, a Mirror Sydney, illuminated by memory and imagination. She writes at a time when Sydney is being disassembled and rebuilt at an alarming rate. Her determined observation of the over-looked and the odd, the hidden and the enigmatic – precisely those details whose existence is most threatened by development – is an act of preservation in its own right, a testament to what she calls ‘the radical potential of taking notice’.

Berry’s work combines a low-fi DIY approach with an awareness of the tradition of philosophical urban investigation. Her unique style of map illustration was developed through the making of zines and artworks, collaging detailed line drawings with text from typewriters and Letraset.  (Publication summary) 

‘These places were like resistors on a circuit board. My thoughts stuck to them. They had auras: each gave me a strong feeling that there was, embedded amid the everyday, an order of unpredictable things.’

In her delicately wrought essays and hand-drawn maps, Vanessa Berry describes her encounters with unusual, forgotten or abandoned places in the city in which she was born and raised, using their details to open up repositories of significance, and to create an alternative city, a Mirror Sydney, illuminated by memory and imagination. She writes at a time when Sydney is being disassembled and rebuilt at an alarming rate. Her determined observation of the over-looked and the odd, the hidden and the enigmatic – precisely those details whose existence is most threatened by development – is an act of preservation in its own right, a testament to what she calls ‘the radical potential of taking notice’.

Berry’s work combines a low-fi DIY approach with an awareness of the tradition of philosophical urban investigation. Her unique style of map illustration was developed through the making of zines and artworks, collaging detailed line drawings with text from typewriters and Letraset.' (Publication Summary)

'In the last decade of the twentieth century, when music was recorded on cassettes and movies on VHS, Vanessa Berry was responding to the loneliness of life in the suburbs of Sydney by constructing imaginary worlds and identities from late-night music video programs, band T-shirts, mix-tapes and and the ‘dark energy’ of goth. Written and illustrated by one of Australia’s foremost zine-makers, Ninety 9 is a memoir about adolescence, its cherished objects, its magical places and, above all, its friendships –a personal guide to the end of the millennium for those who were too young to be there, and an intimate history, full of moments of recognition, for those who were.' (Publication summary)