
a New Series of work
Edited by Cher Tan
As fascist movements gain momentum on a global scale, political dynamics in Western democracies, in so-called Australia and elsewhere, are further entrenching racism, suppressing Indigenous and Black voices, and stifling dissent against the state. Governments frame this escalating violence as normal and necessary, making it more difficult to recognise that this repression endangers the freedom and well-being of our communities. That is where the spectacle comes into play, which Debord identified as '“at once unified and divided”. “But the contradiction,” Debord continues, “when it emerges in the spectacle, is in turn contradicted by a reversal of its meaning, so that the demonstrated division is unitary, while the demonstrated unity is divided.”
Interviews
“For me, sustainability is always beyond just fabric. It's about how I can sustain my business, my team, myself and my mental health so I can do this for the long run, especially being a mum as well.”
“I don’t have the nerve to go back through the novel to examine its sentences; it would feel too close to being confronted with past crimes.”
"If the empire crushes Palestine, no one wins—we’re all doomed. Which is why when we say ‘A free Palestine frees the world’, it is because a free Palestine frees the world. That’s why this fight is so important."
“Being who I am, namely Australian Chinese and female—two distinct drawbacks in mid-20th-century Australia, especially in the small apple isle of Tasmania—I grew up totally outside the norm in white assimilationist Australia, when those with non-Anglo-Celtic backgrounds were expected to merge with the majority and forget their own cultural backgrounds.”
“Writers seem to come into their literary prime, so to speak, later than other artists because it can take time and long years of lived experience to create something fresh and moving on the page.”
“Art is expressed in so many different ways and forms—you’re wearing a piece of art when you’re wearing my silk, but I see it as more of a design that’s made from pieces of art.”
“Working in telly, it’s astonishing how much writers’ rooms feel like the engine rooms of cultural production—whose stories we [decide to] tell determines whose humanity we value. I think the centrality of cis straight white characters in our major narratives facilitates a grave dearth of empathy in this colony.”
“So much of what we live is complicated or conflicted, and based in feeling, and not in words. Language allows us to get very close to saying what we mean, but to me it always falls just short.”
“This is why I always urge emerging writers to enter as many competitions as they can. I think competitions are a great entryway into the industry.”

“I am not quite the children of migrants, so my time is always fleetingly in the present. I generally want to document the shift in this experience, one that is not working towards a legacy, or an external archive, but a document that only connects temporarily.”
“Narrative work is resistance—we know that words and stories matter because even now, these stories are being suppressed. […] What more proof do we need that the last defence of a powerful but crumbling hegemony is censorship?”
“It’s important to me to show that even if you come from a certain cultural background that you are not all expected to act the same. We are not all one big monolith. We are as diverse as any Australian mainstream community. “
“Legacy matters, if only for the simple reason that, when I was coming up, there were no Asian women artists in my world. Part of my legacy is to show that it is possible, because at the time, the idea was considered absurd. Legacy is important but it is not about the legacy of my ego, but an example of a path that people may choose to follow.”
“I read all my work aloud as I redraft because the way it sounds is important to me, but voice isn’t just about style. It can also be a mode, a novel’s way of thinking, like in Beckett’s The Unnameable.”
“That constant replacement of the immediate past with ‘the new’ is a dissociative tendency—a psychological condition that negates empathy or melancholic mood states. Modernism and settler-colonialism both engage in similar dissociative practices—it’s conceptual territorialisation.”

Notes
Playlist
“tiny shiny beautiful” is a six-song tapestry invoking the rare feeling of seeing earth in a new light by Melbourne-based pop artist, composer and producer Ivoris.
