Accessibility Tools

  • Content scaling 100%
  • Font size 100%
  • Line height 100%
  • Letter spacing 100%


Indigo 1 edited by Donna Ward

October 2007, no. 295

More than a journal, Indigo represents a vibrant creative writing movement based around the Fremantle Arts Centre. Submissions are accepted from those who currently reside in Western Australia or who have lived there for at least ten years. But why start a journal for Western Australian writing alone? Is there something distinctive about Western Australian experience? Certainly, the way sandgropers see themselves in relation to the rest of Australia suggests this, and editor Donna Ward’s claim that there is ‘something distinctively Western Australian filtering through the short stories in this volume’ appears true, difficult though it is to quantify.

... (read more)

This book, says Geoff Page in his introduction, should ‘cheer up those who are prone to lament the passing of “form” from contemporary poetry’. Speaking as one who does employ the f-word now and again, I’m very glad to hear it, though I catch the note of sardonicism and think that Page rather misses the point when he writes, again a little satirically, that some ‘may complain that fourteen lines “do not a sonnet always make”‘. I, for one, am more likely to complain that a poem of roughly sonnet proportions ‘does not a decent poem make’; the sonnet (I’d say) is a means, not an end. Apart from the obvious cases of ‘straitjacketing’, of forcing a form upon such content as may be naturally resistant to it, there is the fact that too smooth a rehashing of forms is one of the things – just think of Kipling – that announces a poet as irretrievably minor. Take the Shakespearean sonnet, for example: in poets of only moderate skill, its closing couplet will tend to betray a cluck of self-congratulation.

... (read more)

‘Some meteorites make it to the surface simply because they’re so small that they literally float to the ground. There are thousands of these interplanetary particles in the room you’re in now, stuck to your clothes, in your hair, everywhere.’ This startling piece of information introduces Aileen Kelly’s ‘Notes from the Planet’s Edge’ in her new book, City and Stranger (Five Islands Press, $16.95 pb, 88pp), whose cover features Russell Drysdale’s iconic image of Woman in a Landscape. This bushwoman, then, is stuck with interplanetary particles or, as Kelly puts it, ‘the invisible sift of space’. Drysdale’s woman is transformed from the Australian legend in the dirt-coloured smock, wearing those oddly impractical white shoes, into a figure framed by an immense and moving universe. We look for this in poetry – the breaking of frames, the pleasure of surprise and discovery, and the contest between language and experience.

... (read more)