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y separately published work icon Southerly periodical issue   peer reviewed assertion
Alternative title: Southerly 80!
Issue Details: First known date: 2019... vol. 79 no. 1 2019 of Southerly est. 1939 Southerly
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AbstractHistoryArchive Description

'Southerly has turned 80! Founded in 1939, Southerly has been published continuously for fully four score years. This is a cause for great celebration; we salute the many, many writers whose poetry, fiction, essays and reviews Southerly has published, often providing new writers with their first foray into publication. In their submissions of work for this issue, many writers recall the significance of these first works, some dating from 50 and 60 years ago.


'Alongside literary stalwarts, and in keeping with Southerly‘s committed practice, new writers reflect the matrices of contemporary Australia’s peoples and literatures. Juxtapositions of this kind are at the heart of Southerly‘s project and span the spectrum of writing across creative and critical modes.


'Southerly also salutes the generations of readers who have engaged with this enterprise, the many who continue to access Southerly‘s formidable archive from 1939, and our current readership.' (Editorial)


  • Only literary material by Australian authors individually indexed.  


* Contents derived from the 2019 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Gaayli Biruu, Michelle Vlatkovic , single work autobiography
'Our placenta, a little planet, had veins like river tributaries covering its surface. Its ecosystem supported me with food and antibodies. It filtered out impurities, regulated my body temperature and allowed waste disposal. And it helped my mother, producing hormones that made her glow. We grew this temporary body organ together, sharing body tissue, so that I might become inter-dependent.' (Introduction)
(p. 13-22)
What Is Old Is New Againi"eighty years ago when Germany invaded Poland", Jenni Nixon , single work poetry (p. 23)
Pork Chopsi"“You want that really crisp, that really golden", Stuart Barnes , single work poetry (p. 26)
The Man Who Would Be Auden, John Stephenson , single work essay
'Clem Christesen, a founding editor in the great story of Australia’s literary journals, was still puzzling about the encounter in the 1990s. A man in Royal Australian Air Force officer uniform had approached him in a Brisbane park late in wartime 1944, and introduced himself as the English poet W. H. Auden, on secondment to Australia from his residence in New York—a secondment, need it be said, that no-one else had ever heard of. The officer went on to discourse confidently to him about Auden’s poetry and literature in general.' (Introduction)
(p. 27-31)
Wrapsi"a rotting brocade of the heart", Joanne Burns , single work poetry (p. 33)
Fucking Luckyi"because in my worst", Bronwyn Lovell , single work poetry (p. 46)
Winners and Losersi"Caught in the merry-go-round", Colleen Burke , single work poetry (p. 47-48)
A Bell Note, David Brooks , single work criticism
'I used to daydream, over piles of manuscripts or while copy-editing an issue for what seemed the umpteenth time, that when at last I left Southerly I’d write a poem like Galway Kinnell’s “The Correspondence School Instructor Says Goodbye to his Poetry Students”' (Introduction)
(p. 49-58)
Your Name Herei"In this one we’ll call you Jim", Sarah Hart , single work poetry (p. 59-60)
Editing Daniel, Hannah Fink , single work essay
'In February 2020 The Recent Past: Writing Australian Art 1958–2020, the first collection of writings by Daniel Thomas, edited by myself and Steven Miller, will be published by the Art Gallery of New South Wales. Thomas, now 88 years old, occupies a singular position in Australian letters, one of the greatest writers of Australian art history whose contribution has not been in writing the requisite heavy tome ondensing our rag-tag and often achronological cultural history, but in hundreds of reviews, articles, essays and catalogue entries, and several (modest) books. The peculiarity of his reputation is that where he is regarded—with great affection—as a colossus in our intellectual heritage by those “in the know,” he is little known by the generations of the 21st century, and, indeed, by the general public whom he has spent his life serving. Thomas’s life’s work is so inimical to our cultural and institutional assumptions that the body of it exists not so much within the writing itself—millions and millions of marvellous words— but within what we take as the natural inheritance of our shared knowledge. His is the moving hand of Australian art history: trying to describe it, to pin it down, is like trying to describe the construction of a perfect garment by examining its tucks and seams and hand-rolled hems—to explain it from the inside out.' (Introduction)
(p. 61-69)
Explant (caveat Emptor)i"Cut to the bone.", Beth Spencer , single work poetry (p. 70-71)
Napoléoni"You know, the street’s branches that so moved me, the intense cricket,", Gavin Yates , single work poetry (p. 72)
Progeny, J. M. Donellan , single work short story (p. 73-81)
Less Goldeni"It was in March; no, it was April", Jane Gibian , single work poetry (p. 82)
Grevillea Robustai"Spines curve. Scores of fine digits are gold in tone, tucked", Anne Elvey , single work poetry (p. 83)
Desert Worlds, Richard Nile , single work essay
'In late 1914, twenty thousand mostly young Australian men ventured forth from the driest inhabited continent on earth to cross the ocean in a convoy spread over twenty-five kilometres in length and measuring twenty kilometres in width. The greatest mass exodus from the Antipodes which included a further ten thousand New Zealanders, this was the first and largest of many similar voyages over the next four years. The Australians might have considered themselves to be desert people. “The sand has his own / Wave and motion,” wrote S. Musgrove in “Australia Deserta” in the first issue of Southerly in 1939, “Rages the bed / Of the stony ocean” (14). Yet they preferred to identify as colonial sons returning to the motherland of pastoral England before heading to war. Of their own place, “They call her a young country but they lie,” wrote A. D. Hope in his much debated poem “Australia” which he began writing around the time of the publication of the inaugural issue—and to which he contributed an essay—“She is the last of lands, the emptiest, / ... the womb within is dry” (Hope).' 


(p. 84-105)
The Main Artefacts Are Very Archaici"brush the floor of Freud’s enclosure an onlooker trapped", Dave Drayton , single work poetry (p. 106-107)
Coonowrin (Crookneck)i"Hushbound, mountchain, coiled for-kin ache", Jaya Savige , single work poetry (p. 108-109)
All of This, Everything, Helen Gildfind , single work short story (p. 110-116)
Staying in a Place/Englandi"should be getting", Jocelyn Deane , single work poetry (p. 117)

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Last amended 13 Dec 2019 12:35:33
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