Tag Archives: Brisbane New Voices III

SpeedPoets Call-Back-Poet #3: Carmen Leigh Keates

Just back from a great new Poetry Open Mic gig at Little Prince Espresso and feeling very lucky to live in this city. For those keen to fill their ears with words, the next gig there is scheduled for Thursday November 15.

And of course there is SpeedPoets on Sunday November 4. One of the many features at the gig will be Carmen Leigh Keates. Carmen has had a big year, publishing her first collection, One Broken Knife as part of Brisbane New Voices III, featuring at Riverbend Books and QLD Poetry Festival and being the Call Back Poet at the April SpeedPoets gig. She is currently writing a series of poems about Russian Filmmaker Andrei Tarkovsky, so I thought I would share one of these works:

Flocks of Eider
(Watching Tarkovsky’s Andrei Rublev.)

When it snows
in the cathedral the snow is
feathers. Some say
it is an embarrassing oversight
while others think this is
poplar fluff floating by to
subtly mark a change in season.

Maybe it is flocks of eider
gliding overhead where
the frescos used to be.

Or ectoplasm streaming
like bandages in the wake
of the ghost of Theophanes.

Perhaps the film is actually
on the sea bed and the sky
is the water’s surface refracting
all Russianness into a kind of
woven papyrus of light
from which our Kirill reads
in his mysterious hood

and from his mouth the bubbles
need no translation for us to recognise

incapacitating self-suspicion.

(for those of you keen to check out the film, you can watch it free online here)


Carmen Leigh Keates was born in Brisbane. Her verse novella, Second-Hand Attack Dog, was commended in the 2011 Alec Bolton Prize for an Unpublished Manuscript, and her poem ‘One Broken Knife‘ was commended in the 2010 Josephine Ulrick Poetry Prize. Carmen is undertaking her PhD candidature at the University of Queensland, for which she is writing poetry about the films of Andrei Tarkovsky.


2012 SpeedPoets Open Mic Championships

Date: Sunday November 4
Location: Brew (Lower Burnett Lane, Brisbane City)
Time: 2:30pm – 5pm
Entry: Gold Coin Donation
More details at www.speedpoets.com


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Brisbane New Voices III reviewed on APR + special offer

I was thrilled this morning to be sent a link to a fine review of Brisbane New Voices III on Martin Duwell’s site, Australian Poetry Review. The review also looks in depth at two other Australian new voices, Eileen Chong and Mathew Abbott.

Here’s a little of what Martin had to say about the two micro collections contained in BNV III.

On Feeding Paper Tigers by Vanessa Page

Vanessa Page’s poems tend to focus on emotional states: the first, “Five fifty-three am” is about happiness, and its structure – a set of rhapsodic metaphors (“It’s the morning rubbing the last of a dream from its eyes / as day-broken birds open their throats to the light”) – mimics the way the state lends itself to imaginative celebration rather than, say, sceptical analysis.

On One Broken Knife by Carmen Leigh Keates

The poems of Carmen Leigh Keates have an eerily individual quality which derives not so much from their subject matter – though that is often disturbing enough – as from their disjunctions.

In “Out There By the Airport” which “tells the story” of the experiences of a Salvadorean hospital cleaner there is a disorienting and very unusual juxtaposition of direct and indirect speech.  But the title poem uses this technique in the most radical way. It begins with a domestic enough set of comments about the use of knives which modulates to:

It is the twin of a knife
found in the grave
of someone you used to be
in the fourth century.

before beginning the next stanza, even more radically:

Radio feels mysterious.
You walk about
listening with your eyes . . . . .

Disjunctions and unexpected movements such as this between the domestic, the sinister, and the analytical, give these poems a tremendous internal drive.

You can read the full review here.

And with such a great review, I thought there was need to celebrate!

Here’s the special offer:

Brisbane New Voices III – $10 incl. postage
Brisbane New Voices II & III
– $15 incl. postage
Brisbane New Voices I, II & III
(the complete series so far) – $20 incl. postage

Payment options include:

PayPal – make all payments to geenunn(at)yahoo.com.au – replacing the (at) with @ – and clearly state that payment is for BNV. {Note: All overseas payments should be made in $USD}

Cheque / Money Order (In Australia Only)– make all cheques / money orders payable to Graham Nunn and post to:

Another Lost Shark Publications
86 Hawkwood St.
Mt Gravatt East
Brisbane QLD 4122

Direct Deposit (In Australia Only) – email me off site at geenunn(at)yahoo.com.au – replacing the (at) with @ – for bank details.

It’s a great way to support emerging poets and poetry!


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Brisbane New Voices III about to Launch!

It’s a matter of days now until Brisbane New Voices III featuring Vanessa Page & Carmen Leigh Keates will be launched at Riverbend Books on Tuesday, April 24. Joining Vanessa & Carmen on the Riverbend deck will be Slam Queen, Tessa Leon, founder of the QLD Poetry Festival, Brett Dionysius and global traveller, singer / songwriter / poet, Andy White. Following the launch, Brisbane New Voices III will be available for purchase on this site, but more on that later…

For now, here’s the details of where to book your ticket. It’s going to be a night to celebrate!

Venue: Riverbend Books, 193 Oxford Street, Bulimba.
Date: Tuesday April 24
Time: Doors open at 6pm for a 6:30pm start
Tickets: $10
Bookings: Call 07 3899 8555 to reserve your seat
More details at the QPF website


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Brisbane New Voices III: Carmen Leigh Keates Breaks the Knife

This is one of those rare months where a fifth Friday muscles its way in. So as the April Pin-Up Poet isn’t due to appear here for another week, I thought it was the perfect time to showcase the title poem from Carmen Leigh Keates‘ half of Brisbane New Voices III, One Broken Knife.

One Broken Knife

There’s a rightness
in using one knife for everything
from cutting up a chop
to dividing the bulbs of daffodils.

And when the point is broken
and it attains that animalistic
pig-angry bearing
it becomes your weapon

not seriously
but it becomes your totem knife.
Nobody picks the broken one, right?

It is the twin of a knife
found in the grave
of someone you used to be
in the fourth century.

Radio feels mysterious.
You walk about
listening with your eyes
looking at your hands
going about their thing
straightening books.

Your hands
do not hear
and go on working.
Your hands are farmers.
But your ears are little children
who ask about God
just as they fall asleep.

Dad used his broken knife
to eat apple.
Sitting at the kitchen table
slicing off shapes
feeding them into his mouth
with the same knife-hand.

The blade missed his eye
by a distance
so small
it was religious.

He’d sharpen his knife
and the greasy drag
would ring through the house
like a local abduction.

Once he used the knife
to open a bag of cement
and out of the rip
a grey dust rose
like the spirit.

When I broke
the tip off my knife
I saw
it could leave the kitchen.

The hands that don’t listen
from a root-bound aloe
a clutch
of sappy broken knives
and hurled them into a vacant plot
where if inclined
they could live.


Carmen Leigh Keates was born in Brisbane. Her verse novella, Second-Hand Attack Dog, was commended in the 2011 Alec Bolton Prize for an Unpublished Manuscript, and her poem ‘One Broken Knife‘ was commended in the 2010 Josephine Ulrick Poetry Prize. Carmen is undertaking her PhD candidature at the University of Queensland, for which she is writing poetry about the films of Andrei Tarkovsky.


Brisbane New Voices III is printed in a limited edition of 100 copies and will be launched on Tuesday April 24 at Riverbend Books along with readings by Victorian Singer/Songwriter, Andy White and QLD mistress of SLAM, Tessa Leon. To book your ticket call the store on (07) 3899 8555.


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March Pin-Up Poet Week #4: Vanessa Page looks forward

Sadly, this week, it is time to say goodbye to our March Pin-Up Poet, Vanessa Page… but never fear, the launch of Brisbane New Voices III is just around the corner, so we will be seeing and hearing lots more from her over the coming weeks and months. Vanessa, it has been a pleasure…


With Feeding Paper Tigers to be launched on Tuesday April 24, what’s next on the horizon for you? Are there any themes emerging in your new work?

With the pieces selected for Feeding Paper Tigers being drawn from my manuscript the lost art of penning you a love note, I’ve been turning my attention to reworking and refining that collection of poems and adding some new pieces in to the mix. My first manuscript, Memory Bone is still awaiting publication with PressPress and hopefully this will happen some time in 2012. This is a full length collection of my earlier work.

As for what’s on the horizon, I have written a suite of poems that were drawn from my recent experiences in Tasmania and have been working away at a couple of longer poems. Performing my work at various poetry events around the city is helping to keep me on track with writing new material and giving me some time frames to work within. I will also continue to submit my work to various competitions throughout the year, as I seem to be having more success with competitions than with submissions to poetry zines and journals. As an ‘emerging’ poet I think the anonymity factor helps in this regard. It’s a great way of getting my poetry out there to new audiences and again the ability to work to a deadline is great for me as there never seems to be enough time in the day for we single, working, poetry-writing Mums! That being said, I’ll also continue to persistently submit my poems to journals and zines and the like and just keep at it!

I think while many of my themes will stay the same, I am working hard on refining my style and paring my work back to a simpler form. Having had the experience of editing for publication, this process has become easier for me and I have been able to push through that tricky mental space that makes me want to stubbornly hold on to lines that aren’t working rather than just discarding them and coming back to the concept in a fresh way. Lately I’ve been going over poems that have been troubling me, deleting ‘offending’ lines and stumbling blocks and getting those poems working again. I’m enjoying that aspect of reviewing at the moment and the freedom that a bolder approach to my own editing is affording me so that I can move my projects forward.


Drunk in St David’s Park

Still awake under
Hobart-town’s drooping lids

a grass crackle reveal
over night’s cold sweat

we light the fuse
with ice blade fingers

the two of us
an awkward exercise
in propulsion, footprints
over an old burial ground

shoulder to shoulder
with emancipist headstones

monuments to new starts;
the same colonial sky

the moon appears
in a half-hearted way

sparkle darkness
flooding under streetlights
as the rain comes again

we run like hell


And one last time, here’s the Brisbane New Voices III launch details:

Date: Tuesday April 24
Location: Riverbend Books, 193 Oxford St. Bulimba
Time: Doors open for the event at 6pm for a 6:30pm start
Tickets: $10
Bookings: Online at: http://www.riverbendbooks.com.au or call the store on (07) 3899 8555

Copies of Brisbane New Voices are limited to 100, so be there to make sure you don’t miss out!


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March Pin-Up Poet Week #3: Launching Paper Tigers

It’s almost time to launch Brisbane New Voices III, featuring March Pin-Up Poet, Vanessa Page’s debut collection, Feeding Paper Tigers. This week Vanessa & I continue the conversation and she gives us the low down on the experience of putting together the manuscript.


The launch of Feeding Paper Tigers is fast approaching. It has been a real pleasure for me to work on the poems that make up the micro-collection; reading through the longer manuscript, the lost art of penning you a love note, to find poems that speak deeply to each other and create something unique as a whole. What was your first reaction to the poems that I selected and how have you found the process from start to finish?

It is a very exciting time for me to see this collection of poems being published and released to the world. The selected poems definitely speak deeply to each other and I think the selection sings sweetly as a little package. My initial reaction to the selection was surprise – and this is because it is always interesting to discover how others see your work, what speaks to them, what strikes a chord. I think the most interesting element is that more than half of the selected poems were ones that came to me very quickly and formed with a minimum of fuss, just a small amount of shaping. In that way, I believe the selection is very organic and stems from some pretty deep and intense experiences and concepts – all of which wanted to be told!

There is a lot of ‘me’ in these poems, which is to be expected being an initial collection. For example, Christmas 1982 has come exclusively from memories of my childhood and Christmas days spent barefoot and carefree in my home town of Toowoomba . When I think of that poem I see it visually, like a collection of memories displayed under an Instagram filter. I think the collection also reflects my preference for simplicity in expression and I am completely enamoured of the idea that something moving and profound can come from a few lines of carefully selected words. Gone #2 is exactly that. A poem of great longing that lingers on long after its been read through.

The process of preparing the poems for publication has been very exciting. While I have had to do a little tweaking here and there during the editing process, I believe this process has helped to fine tune my poems to the point where I have no further ‘itch’ to tinker with them. It is amazing what the omission or addition of a comma can do for a line! It is a pleasure to work with Graham, who has been a fantastic support and mentor to me since I first started writing poetry ‘seriously’ just over three years ago. It is fitting that Graham is responsible for publishing this debut collection of poetry and I am very much looking forward to the launch event and sharing these poems with the world.



It’s in the way the foliage deepens to viridian, each
time you leave

and in how the sky spills over to inhabit
the impressions you’ve left.

these tiny fissures, these sweet little fractures.

I paint what’s left of the afternoon with a brush as fine
as eyelashes

a weeping emulsion, watercolour thin.

In this kind of emptiness, even the sound of a leaf
detaching and spinning back to earth booms.

I am a fulcrum. I am carved from stone.


Last month Riverbend Books lit up the Brisbane sky with it’s opening event… And we’re set to go again! On Tuesday 24 April the night will come alive with the voices of Victorian singer-songwriter / poet / troubadour Andy White, slam goddess Tessa Leon, Brisbane poet and former QPF director Brett Dionysius, and the launch of Brisbane New Voices III featuring March Pin-Up Poet, Vanessa Page and Carmen Leigh Keates.

Copies of Brisbane New Voices are limited to 100, so be there to make sure you don’t miss out!

Date: Tuesday April 24
Location: Riverbend Books, 193 Oxford St. Bulimba
Time: Doors open for the event at 6pm for a 6:30pm start
Tickets: $10
Bookings: Online at: www.riverbendbooks.com.au or call the store on (07) 3899 8555


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March Pin-Up Poet Week #2: Feeding Paper Tigers with Vanessa Page

It’s Friday night, time to check back in with our March Pin-Up Poet, Vanessa Page.


Feeding Paper Tigers opens with the poem Five fifty-three am; a poem in which you gloriously extend the metaphor of happiness to ‘night’s belly button, hung low and pale on the edge of day’. I am interested to know whether you wrote a long list of metaphors for happiness and then whittled the list down to what makes the poem really sing? And while we are talking about your writing process, how does a poem generally make it from first draft to being ready for the world?

Five fifty three am was one of those rare poems that seemed to effortlessly fall out of my thought space onto the page. After I had scribbled out the bones of it, I really only had to tinker with the layout and tighten up the wording here and there to get it to where I wanted it to be.

This poem came to me during my early morning commute which usually gets underway at five fifty-three (ish!) am. At that hour in the beautiful Bremer Valley the sky does amazing things and it feels as though you are hurtling through a kind of alternate reality. The senses are heightened and the smallest details are magnified by the simplicity of the surroundings. In this space, it is easy to become completely lost in thought and when this poem came to me I felt a strong sense of calm and clarity which I think translates quite strongly in the finished piece.

The poem itself is sprinkled with metaphors for happiness and was definitely inspired by that feeling of serenity and the empowerment of casting off negativities ‘like dried earth’, in order to strip things back to a simple and beautiful state.  I think what makes this poem ‘sing’ is the magnification of the detail to create a whole that reads like one giant exhalation.

Much of my writing process follows this ‘formula’. I am a writer who is very inspired by the natural world and by what I see and experience. Poems will very often start from a moment of clarity, an interesting observation or an emotion inspired by visual elements. Once the concepts are down I do like to take a lot of time to perfect each piece with both word selection and the way they balance and sit on the page. I like to revisit older files and will often take a line I love from an older piece and craft something new from it. I am, in that respect, a bit of a recycler of my scribblings and the process of picking over older poems that (for whatever reason) did not quite work before has often led to unexpected new pieces.

It’s hard to say how long a poem takes from the initial concept to the finished product. They are all different. Some of them tumble out sweetly, like five fifty-three am and others, like Chrysalid, will have had numerous incarnations before the combination finally clicks.

I’ll also not only silently read the drafts over and over to check the flow is there but I like to read them aloud to make sure they sound as good as they look on the page. Usually a piece is finished when I’ve gone through this process and there is no line or word or phrase that I keep stumbling over. As soon as the bumps and kinks are ironed out, it is ready to share with the world.


Five fifty-three am
For Peter

Happiness is this simple.

It’s the morning rubbing the last of a dream from its eyes
as day-broken birds open their throats to the light

It’s a weather beaten shack at a romantic lean, knee-deep
in mist drawn like eiderdown over still-sleeping fields

It’s night’s belly button, hung low and pale on the edge of day
where dawn is kindling, like tiny kisses on your lover’s shoulder

Your car slides along the Amberley road in confessional box
calm, and twenty thoughts fall away from you like dried earth

All the world breathes in, and out

It’s this simple.


You can read more of Vanessa’s work at: http://vanessapage.wordpress.com

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March Pin-Up Poet Week #1- Introducing Vanessa Page

March is here and that means it’s time for a new Pin-Up Poet! So I thought I would take the opportunity to invite Vanessa Page, one of Brisbane’s exciting new voices to join us for the month to talk about her forthcoming release and some of her recent successes.


You have recently been successful in some high profile awards, most notably being short listed in the Arts QLD Thomas Shapcott Award for an unpublished manuscript and the PressPress Chapbook competition. What have these awards done for you as a poet?

For me, the most important aspect of being shortlisted for the Arts Queensland Thomas Shapcott Prize last year was the validation it represented for my work. Listening to the feedback from two of the judges – Felicity Plunkett and Justin Lowe at the Queensland Poetry Festival opening was very motivating, and being shortlisted in itself for such a prestigious award was fantastic. Results like this has really helped me to maintain my enthusiasm and desire to keep on working at my poetry in a disciplined way.

As an emerging poet, one of the best things I have been able to do for my development is to consistently prepare works for competitions and awards. Not only does it mean I’m working to ongoing deadlines and thus required to commit the time to refining my work but I am also exploring avenues for getting my work out there for others to read. As a working Mum, time is a precious commodity so ongoing feedback and encouragement through award results has helped me maintain focus and commit to dedicating my time to writing more often. I also like the idea of my work being viewed and critiqued anonymously, particularly as an emerging poet who has not had a great deal of my work published yet. Competitions offer this opportunity and have been a great platform for me to hone my craft and reach an audience. Now with some good competition results behind me, I hope my work will begin to find its way into more publications.

The PressPress Prize result in 2010 was extremely important for my development because it was the first manuscript I had put together and the first time I had submitted a manuscript anywhere. It helped in terms of letting me know I was on the right track and that my work had merit. Thankfully the Shapcott result verified that it wasn’t just beginner’s luck and it has been a great stepping stone for me with my first micro collection Feeding Paper Tigers being launched next month as part of Brisbane New Voices III.



The rain keeps coming.

Overnight, the broken
awning outside his bedroom
has become a form of water torture

drip, drip, drip, drip

This big old house
swells in downpour sheets

shadows in the crooks
of its knees and elbows
and spiders under its eyelids

he’s alone and silence
plays him like a music box

wounded thoughts
alate creatures blown from
a sepulchral mouth

The odd things she left behind
in this big old house
a cuckoo clock, potted rosemary
this emptiness

festive baubles
endemic beyond New Year

but he hasn’t the strength just yet

The rain keeps coming.

He rolls over, attempts
sleep on a misplaced ocean
back lit through venetian blind slits

drip, drip, drip, drip

That broken awning –
he might fix it tomorrow

if the rain stops coming.


Vanessa Page is a Rosewood based poet who hails from Toowoomba in Queensland. Her first full-length collection of poetry, Memory Bone, was shortlisted for the 2010 PressPress Prize and is due to be published in 2012.

In 2011 her manuscript The lost art of penning you a love note was shortlisted for the Arts Queensland Thomas Shapcott Prize for an unpublished manuscript.

Vanessa has performed her work at various events, feature readings and gigs around Brisbane and is a founding member of the Beeble Poets group in Ipswich .

Feeding Paper Tigers is her first micro-collection of poetry and will be launched in April as part of Brisbane New Voices III.


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QLD Writers Week Feature #4: Vanessa Page

From poems landing on International Space Stations, we head west to the big sky country of  Western QLD; a landscape that continues to reveal its beauty to Vanessa Page.

A Moment of Serenity

A sense of place plays a central role in my creative process. I feel deeply connected to the land in particular, with many of my poems set against the landscapes of central and western Queensland.

I enjoy working with the idea of examining the complexities of human relationships against these settings. Sometimes I will start a poem with a landscape in my mind and this will later become the base for the layering of the storytelling component. When simple, powerful stories develop on these canvases that is when I really begin to feel my poems ‘sing’.  While the process of writing poetry usually starts in an organic, sensory way it usually ends with a lot of painstaking fine tuning as I meld all the elements together.

I am inspired by the landscapes of western Queensland, and in particular the places between Toowoomba (my home town) and Mitchell (a town where my family lived for many generations) and out as far as Charleville, Blackall and Barcaldine – places where I have spent quite a bit of time.

I think because of my personal connection to these places, I get a lot of joy and satisfaction in showcasing them through words. Part of this is about wanting to share the beauty I see with others, and part of it is paying a bit of a tribute to my heritage and the pioneering bush labourers, drovers and bullock team drivers who were my grandparents and great grandparents.

Quite often it is a moment of serenity or beauty that sparks the creative process. It might be something as simple as sitting by a weir at daybreak watching tiny birds stamp signatures in the red dust or admiring a flock of black cockatoos propped in an enormous river gum like some kind of strange and beautiful fruit that strikes a chord and either becomes a metaphor for a story that is developing or which is just a beautiful picture in its own right waiting to be painted in words.

I think the extreme and sometimes desolate beauty of these places helps me to connect more deeply to different concepts particularly around the theme of human relationships – like the way connections between people are tested through processes like loving and losing.

There is nothing like the ‘big sky country’ in central Queensland to create the perfect environment for this sort of thinking. More often than not it is just the quiet and the relative emptiness of journeys in between places that inspires creative thinking in me. I find that I can draw deeply on my own experiences, and my observations while at the same time being in tune with the landscapes that are unfolding around me. Simply driving west seems to bring me into an incredibly rich creative space, because of the connection I feel to the land.

In my poems I try and bring the reader with me to the places where the story is unfolding. I like them to feel – if not connected to, then aware of – the environment I am describing by using words and visual arrangements to evoke the senses. I tend to write in a detailed manner, finding the perfect descriptors and then reshaping the lines until they glow and reflect my concept and vision.

I like discovering beauty in little ‘polaroid moments’ and have written poems about very simple experiences, like observing how the first light of the morning inhabits an outback town or the tiny ways in which the landscape changes and prepares ahead of an approaching summer storm.

For me it’s ninety percent about getting the level of detail right, choosing the right words and then piecing the elements together to help transport the reader to these settings and moments. The other ten percent comes from my personal passion and joy and love for the natural environment, helping me to complete the connection.

by Vanessa Page


Saddle Dreaming
             for Billy Page
Out here, he might find the shape of her face
in a night basin speckled with stars
just by purchasing shares in the thought of her,
a lifetime south in Gunggeri territory
She’s a vignette back there, with five children
topped and tailed in two small rooms,  
shadow-formed; getting by on instinct
Sleep pulls through her like an accordion.
Next time, before regret can come into it
he might leave off the drink, and whisper her
a homecoming as sweet as wood-smoke
Next time
A dog’s bark slices through the morning pink,
as day cups the edges of the Gulf country
It won’t be long now, til it begins again
Saddle dreaming drenched in sun violence,
and the miles of emptiness drawn out between.


Vanessa Page is a Rosewood-based poet who hails from Toowoomba in Queensland.Vanessa is a frequent reader at Brisbane’s SpeedPoets events and was one of the featured poets at QPF’s Riverbend Poetry Series in 2011. Her work has been published at kipple, bluepepper, SpeedPoets zine and in the 2010 Central Coast Poets Inc Anthology. She won the USQ Poetry Prize in 2011 & 2010, and in 2009 was runner up at the Ipswich International Poetry Feast. Vanessa will be one of two poets published in Brisbane New Voices III, which will be released in April 2012.


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The Back Room’s All Star Menu: featuring Pascalle Burton

Tomorrow night is your last chance to dine out on the fine food and live arts served up by, The Back Room at Confit Bistro. One of the highlights of the all-star menu is avant-garde performance poet musician-lady, Pascalle Burton.

Pascalle flirts shamelessly with poetry, music and visual art. She has performed at many venues and festivals both in Australia and overseas.  She recently played around with David Stavanger, Nathan Shepherdson and reversible poetry on her project, The Outlandish Watch, which is available on 7” vinyl. She performs in The Stress of Leisure, who will be October’s Resident Musicians at the Brisbane Powerhouse and soon releasing their own 7”, Sex Time. Her Lavender Room Zine-in-a-Matchbox series has been nominated in the 2011 Golden Stapler Awards and in 2008, Small Change Press published her debut collection, A Vast Laugh.


± reminders
the person you felt like killing?
you did.
fashion costs less if you stop
buying into it
if I repeat this line
will it get stuck in your head?
multiple cars rear-end the ghosts
of victims
of machismo-wielding drivers
how many exhibitions have been cut short?
how many protests worked?
how much lipstick do we eat?
if I repeat this line
will it get stuck in your head?

there is a small cat in the carpet
leading to endless bedtime stories
with the same character
dreams are set in different tourist destinations
they are doing a world tour
to a sellout crowd
if I repeat this line
will it get stuck in your head?
if I repeat this line
will it get stuck in your head?
it doesn’t matter
there are more pressing concerns
like the person you felt like killing?
you did.


Here’s the details and remember, this is the last gig for the year, so come on out and raise a glass to what has been a superb series of events!

Where: Confit Bistro, 4/9 Doggett St, Fortitude Valley
Date: Wednesday September 28
Time: 6pm doors for a 6:30pm start
Entry: Free

To book your seat, call 3254 4001 or email info@confit.com.au or drop me a message in the comments box below and I will do the rest.

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