Josephine Rowe

In her essay On Beverley Farmer, Josephine Rowe recounts a 2013 visit to Melbourne’s Heide Museum of Modern Art to see an exhibition of Louise Bourgeois’s Late Works. Among the drawings and sculptures on display was The Waiting Hours, described by Rowe as ‘a series of twelve small oceanscapes’ each of which shifts fluidly, a ‘darkening whorl around the small white axis of a singular source of light shrunk to a pinhole … at once a pivot point and a vanishing point’. The effect on Rowe of this encounter was ‘one of powerful undercurrent. I felt not much and then, abruptly, disconsolate. Swept out of depth. A plunge, a plummet: the inrush towards that oceanic sense of recognition experienced most commonly in dreams, but sometimes spilling over into waking life – encounters in art and music, in nature or, more rarely, in meeting (as though hello, again).’

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The inciting incident in Josephine Rowe’s short story ‘Glisk’ (winner of the 2016 Jolley Prize) unpacks in an instant. A dog emerges from the scrub and a ute veers into oncoming traffic. A sedan carrying a mother and two kids swerves into the safety barrier, corroded by the salt air, and disappears over a sandstone bluff ...

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'Anything Remarkable', a new story by Josephine Rowe

Josephine Rowe
Friday, 05 July 2019

Certain days: it is easy to imagine this small, once-prosperous river town (barely distinct from many other small, once prosperous river towns) as if you are only passing through it, shunpiking the thruways in favour of the scenic rural two-lanes on a road trip in your better, your best life. The life in which your formidable boxer-turned-human-rights-lawyer wife has simply pointed to this town on a much misfolded map and declared: Here, lunch.

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The 2016 Elizabeth Jolley Short Story Prize ceremony was held at the Melbourne Writers Festival on 27 August. The event was compèred by ABR Deputy Editor, Amy Baillieu, with opening remarks from poet and author Maxine Beneba Clarke.