y separately published work icon Voiceworks periodical  
Date: 2022-
Date: 2020-2022
Date: 2018-2020
Date: 2016-2018
Date: 2014-2016
Date: 2012-2014
Issue Details: First known date: 1988... 1988 Voiceworks
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Issues

y separately published work icon Voiceworks Puzzle no. 132 Winter 2024 28525760 2024 periodical issue 'It's cold, which moans that Linus and I are curled up in bed watching Survivor.  Americans opt-in to deprivation and try their hand at living on an Island. In their quest for a million dollars, payers compete in challenges, solve puzzles and most importantly, work their social skills. The social game is the real heart of Survivor and the show so juicy.' (Introduction)
 
y separately published work icon Voiceworks Strike no. 131 Summer 2024 28093564 2024 periodical issue

'In this issue our contributors rage against capitalism and colonialism. In Notes on Damp, Anastasia Dale takes us through a horrifyingly familiar tale of renting which is accompanied by an immersive soundscape. In Irish Ghazal, Scout Manuel uses the ghazal form to try and make sense of the cyclical violence of English imperialism.

'‘Strike’ also looks at bodies as sites of struggle and liberation. Mel Bandara’s comic Colours of Pain and Christine Le’s artwork Pang Pang Pang! take a bold look at chronic pain. In Swimming on the Solstice, Theodore Harkin explores swimming as a practice of bodily connectedness as a trans person. 

'Dive into fiction about giving birth to demons and being followed by swarms of ants, and poems about lullabies and grieving in the backseat of your family car. And don’t miss out on Henry Tran’s winning story from our partnership with the Dymocks Beyond Words short story competition in 2023. ' (Publication summary)
y separately published work icon Voiceworks no. 130 July 2023 27358639 2023 periodical issue 'I’m writing this editorial from bed. I don’t have a desk in my room so this is where I work, but I do have a lot of toys. From my ‘workspace’ I can see: my plushie of a bear dressed up as a pig (trans?) that I won from a claw machine; the furry body of Gizmo from Gremlins, given to me by a relative who attended an 80s themed tech conference for work (I don’t know what this means either) where everyone received a RRP $50 Gizmo upon arrival; and three identical Badtz-maru figurines, the penguin character from Sanrio, sleeping on his pet alligator Pochi. Three because I’m a sucker for blind boxes, a cutesy form of gambling where you buy a box with a mystery toy inside. Badtz-maru was the figurine I wanted least from this set. Upon finding that I’d bought him a third time, a friend told me to stop buying them and I did (thanks Adalya). I’ve since grown to love the little penguin/gator combo, but their presence haunts me a little—the sameness of them, the reminder of money poorly spent and a tendency towards obsession.' (Selina Moir-Wilson: Editorial introduction)
y separately published work icon Voiceworks no. 129 Autumn 2023 26396748 2023 periodical issue
y separately published work icon Voiceworks no. 128 December 2022 25761690 2022 periodical issue 'In high school, my bludge subject was woodwork. It was a bludge because there was a rule that if you forgot to bring your pencil, you weren’t allowed to make anything—a bizarre kind of reverse pen license. I spent the lessons participating in competitions of endurance with the other pencilless bludgers. We squeezed our limbs in vises and sandpapered each others’ arms. It was important to prove who was the toughest, the most stoic and unyielding. Later I sat at my desk, grimacing as a pearly, orange-pink liquid seeped from my skin. I’m not sure why we were so obsessed with these challenges.' (Editorial introduction)
y separately published work icon Voiceworks no. 127 July 2022 25081458 2022 periodical issue

Metals gleam, and so does water. In reflecting and refracting impressions, memory and imagi-nation blur into each other. I often think of Toni Morrison’s writing on the attempts to straighten the Mississippi River, and how the water inevitably returns. Morrison writes:

‘Floods is the word they use, but in fact it is not flooding; it is remembering. Remem-bering where it used to be. All water has a perfect memory and is forever trying to get back to where it was. Writers are like that: remembering where we were, that valley we ran through, what the banks were like, the light that was there and the route back to our original place. It is emotional memory—what the nerves and the skin remember as well as how it appeared. And a rush of imagination is our “flooding”.’

(Zowie Douglas-Kinghorn, Editorial introduction)
y separately published work icon Voiceworks no. 126 January 2022 24666359 2022 periodical issue
y separately published work icon Voiceworks Spectre no. 125 January 2022 24385459 2022 periodical issue 'The past two years have been filled with mirrors—moments that would have been different if things had been different (the particular thing so substantial it doesn’t need naming). I try to avoid them, keep them in the corner of my eye, but sometimes I turn a corner and find myself surrounded. Some of the reflections are not that different, or are materially different but not necessarily objectively more beautiful. Others are more painful to behold, fix me in their gaze.' (Adalya Nash Hussein: Editorial introduction)
y separately published work icon Voiceworks Saddle no. 124 November 2021 23555874 2021 periodical issue
y separately published work icon Voiceworks Pickle no. 123 August 2021 22799880 2021 periodical issue

'Pickles is the name of my cat and I love her very much. Pickles has soft, white fur, dappled with orange and tortoiseshell. Pickles likes to sit where you were just sitting, or in places you were just about to sit (perhaps she thinks the chairs are being pulled out for her). Pickles’s favourite toy is my pot of Blistex Lip Conditioner SPF30.'

(My Cat Pickles Endorses Voiceworks #123 themed 'Pickle'. Adalya Nash Hussein, Editorial introduction)
y separately published work icon Voiceworks Reflex no. 122 January 2021 21954298 2021 periodical issue 'Over the last few months, I have been refamiliarising myself with falling over. I don’t remember when I stopped falling over—or rather, when falling over stopped being an insignificant everyday event—but now, when I fall, there’s a shock that feels like it bounces from my heart to my stomach to wherever I’ve made contact with the ground back up to my ears, which ring. e reason I am eating shit again is that—like many others, so many that there is not only an international rollerskate shortage, but a subreddit dedicated to the slow shipping of one particular brand (r/DudeWheresMyMoxis)—I took up rollerskating over lockdown.' (Falling Forth Forever: Adalya Nash Hussein, Editorial introduction)
y separately published work icon Voiceworks Root no. 121 2020 22549057 2020 periodical issue

'For most of my life, I’ve lived in apartments. Some of these have outdoor spaces, but they’re managed by body corporates. You can tell which blocks have more owners than renters because the gardens are better looked after, more manicured.'

Source : Adalyah Nash Hussein, Editorial Introduction
y separately published work icon Voiceworks Divine no. 120 2020 20764173 2020 periodical issue
y separately published work icon Voiceworks Butter no. 119 Winter 2020 19811611 2020 periodical issue 'This is a cliché, but time feels very fast and slow this year. I thought about this a lot during Ramadan. Watching the sun across the day and the moon across the month. Feeling time in when I woke up, when I started feeling hunger pangs, when I had to lower my blinds so the sun wouldn’t give me a headache. The lunar calendar comes out of sync with the solar one a little more each year. I feel a renewed sense of grief for my friend who died shortly before Eid a few years ago. The actual anniversary of her death isn’t for another three weeks.' (Adayla Nash Hussein , Editorial introduction)
y separately published work icon Voiceworks As If! no. 118 Summer/Autumn 2020 19500879 2020 periodical issue
y separately published work icon Voiceworks Hum no. 117 December 2019 18514523 2019 periodical issue
y separately published work icon Voiceworks Pluto no. 116 September 2019 18046420 2019 periodical issue 'When we think about Pluto, we usually think of the vastness of space, the ~mysteries~ that are out there. The truth is that we know less about the earth’s oceans than we do about our galaxy. Looking into the night sky can cause an enhanced feeling of being present, or even stuck, here, and it is important to remember that this planet is just as miraculous as what’s out in space.' (Mira Schlosberg Editorial introduction)
y separately published work icon Voiceworks Goth! no. 115 July 2019 17170352 2019 newspaper issue 'For the first half of my teens, I wanted badly to be a goth or an emo, but I was too shy. I grew up in a small town in Arizona, and I was simply too timid to do anything that would make me stand out. Yes, I wrote weird sad poetry at the library before fencing class, and I drew Death Note fan art, and I wore plaid skirts over jeans on the weekends when no one from school would see me, but that was my limit. I remember once buying a grey shirt because I was worried that people would think I was a poser if I dressed in black.' (Mira Schlosberg Editorial introduction)
y separately published work icon Voiceworks Slugs no. 114 2019 16829785 2019 periodical issue 'Unfortunately for myself and the people who know me, I suffer from a somewhat extreme phobia of bugs. This phobia centres on cockroaches but expands to encompass most of the insect/arachnid/myriapod world, to varying degrees. Even as I write this I am experiencing full-body anxiety from accidentally looking at a photo of fly eggs four hours ago (the fact that I had to see several photos of bugs while looking up the correct terms for the aforementioned insects/arachnids/myriapods has not helped). Slugs, however, are one of the few creatures who are exempt from my phobia.' (Mira Schlosberg, Editorial introduction)
y separately published work icon Voiceworks no. 113 Summer 2018 16829090 2018 periodical issue 'Last night I travelled across town to my friend’s house, which is also the headquarters of the riso press/comics publisher Glom Press, to help finish putting together the last two in a series of six comic books that Glom has been releasing this year. The days seem to have gotten longer really suddenly—it was still light out when I arrived, and, as everyone sat around carefully collating stacks of printed pages, two rainbows—one single and one double—were shining above the house.' (Mira Schlosberg, Editorial introduction)
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