A declaration of interest is in order. I have twice appeared in the pages of HEAT. I am also in the latter stages of a doctorate, which I have been writing for the past few years under the supervision of HEAT’s editor, Ivor Indyk. Under normal circumstances, I would decline to review a new edition of the journal for these reasons. The latest edition is, however, of particular significance, for it is the last that will appear in print form. It is important to stress the qualification: Indyk has stated that he is interested in reinventing the journal in an electronic format. But it is difficult not to feel that the occasion has the sense of an ending about it. Whatever form HEAT may take in the future, its life as a printed journal, which began in 1996 and continued through two series of fifteen and twenty-four editions, respectively, is now over.
The key theme of HEAT 19 is death. In 224 pages, a collection of Australian writers and academics pay homage to the departed in a range of essays, poems and short stories. The journal opens with Judith Beveridge’s moving and personal tribute to the poet Dorothy Porter. According to Beveridge, ‘Dot’ (as she was known to her friends) was a ‘consummate professional and her public performances were unfailingly polished’. However, Porter ‘also had a very fragile side, vulnerable to the pain of exclusion and rejection’. The title of Beveridge’s piece is ‘Trapper’s Way’, which is the name for a strip of land in the New South Wales suburb of Avalon where Beveridge once lived with Porter.