AustLit

'Sarah Rice and Jen Webb met at the Bookplate café in the National Library of Australia, Canberra, in November 2014, as part of an ARC-funded project into poetry and creativity (DP130100402), to talk about Sarah’s own creative practice and her experience of thinking and making across several modes.'  (Introduction)

'In 2016 Kevin Brophy and Nathan Curnow began a correspondence, Kevin living in the remote Aboriginal community of Mulan in the Kimberley region, Nathan living in Ballarat, Victoria. This is an excerpt from a year of letters exchanging views and ideas about poetry, teaching, creativity and failure. The correspondence continues.'    (Introduction)

'Having read several of Geoff’s verse novels as part of my doctoral research, I introduced myself at the 2012 launch of his Coda for Shirley. I shared with Geoff my plans to improve reader reception of verse novels, and thanks to his generosity, this interview is an outcome to that end.'  (Introduction)

'I wrote these pieces of writing for readers to understand and know something of my people, whom I love very much. Their lives were not lived in vain; they were beautiful people who held responsibility when they needed to; and they were strong people who have left, in me, great love. My people were strong and did not bow a head to any person, even though they suffered terrible violence through the hands of the state.

'My mother, her mother (our Law-woman), and her brother John were Kunya people. My father was a Wailwan/Wiradjuri man, and I was raised as Barkindji by my grandfather. I am living thanks to these people's great love. This writing is an expression of my admiration and love for them.' (Introduction)

'This article is an edited transcript of The Films of Ivan Sen symposium, convened and chaired by Susan Thwaites at University of Canberra on 10 July 2015.'

'Ivan Sen is an important figure in what has been called the Blak Wave in Australian cinema — the rise over the last few decades of a growing number of talented Indigenous filmmakers who are redefining long-held conceptions about Australian cinema. Since his first feature, Beneath Clouds (2002), Sen’s films have won numerous awards, nationally and internationally, and received widespread critical acclaim. The symposium was a rare opportunity for an in-depth discussion with Sen about his film-making process and aspirations. At the time of the symposium, Goldstone (2016) was in post-production and Sen was working on the screenplay for his planned feature, Loveland.

'To open the symposium, Susan Thwaites begins by picking up threads from an earlier conversation she had with Sen.'  (Introduction)

'This interview with Sydney-based painter and visual artist Joshua Yeldham took place on 2 August 2017 at Tweed Regional Gallery, Murwillumbah NSW, days before the opening of his new exhibition Endurance. This exhibition showcased works that Yeldham created during a special residency at the gallery in February 2017. Yeldham, also an Emmy-winning filmmaker and the author of one book, Surrender: A journal for my daughter (Colo River 2014; Picador 2016), works with various materials and experimental techniques to create his large-scale artworks that he has been exhibiting for the best part of twenty years.' (Introduction)

'Martu filmmaker and artist Curtis Taylor talks with Lisa Stefanoff about his work in the production and international promotion of Lynette Wallworth’s Virtual Reality Film Collisions, a project that tells the story of his grandfather Nyarri Nyarri Morgan’s experience of the British atomic bomb tests at Maralinga and ongoing care for his country. Curtis reflects on the value of different art and media forms for conveying Martu stories, enduring traditional knowledge and contemporary concerns, and discusses his own cinematic reflections on the powers, risks and roles of new media in Martu communities.'  (Introduction)