A poem by Kat in response to Emily's This Tree Is Not Like The Others
The clay soil has hardened as it dried. It catches under my nails,
chipping and breaking them as I dig. The skin of my fingers catch on the
rocks and debris hidden in amongst the soil. I imagine my blood being
kneaded into the displaced clay, an offering to the earth I’m going to
join with. If I could still feel my
If you’ve had a chance to look at the fantastic interviews from the
Willow Pattern authors, you may have noticed some differing opinions
about the end product. For Rjurik Davidson, participating allowed him to
explore new styles of writing, stripping away the literary frills and
letting the story speak for itself. For Krissy Kneen and Nick Earls, the
end product wasn’t necessarily such a
Posted by Ronnie Scott on Nov 11, 2013 in The N00bz
Hello. My name is Ronnie and this is the story of how I failed to draw a comic. Throughout this process, I tried to illustrate various colours, shapes, and lines. What I ended up illustrating is a trio of clichés: those who can’t do teach; it’s harder to make than to criticise; and scholars tend to be somewhat divorced from their research topics. Please, make yourself comfortable and watch a grown man drown before your eyes.
I sometimes get to work as a comics critic, which I love: it’s Chris Ware who said that comics is the only art form where you have to explain the medium’s history before addressing a single one, so I often get to editorialise and soapbox and opine before digging into the comic at hand—usually a big no. Meanwhile, my doctoral thesis, which I spent four years of my life writing, was basically an attempt to redefine comics as an art of space, rather than an art of time. It was the kind of supernerdy, fine-grained study that only its author could love, but one detail is germane here: I don’t believe my own argument; it’s an opening gambit, a bargaining position, a thesissy point of departure, one that allowed me to get into the guts of why comics is uniquely itself. Comics’ engagement with space and time, how it messes them both up, is different to the dimensional engagement of any other narrative form.
I think we owe P.M. Newton a thank you and an apology for her interview. We honestly didn't mean to bring up the bad memories.
1. What made you decide to be apart of the Willow Pattern project?
The people organizing it. I am a big admirer of Queensland Writers
Centre and the people who work there. Add to that the writers they were
inviting to take part and I was prepared to say yes.
A wonderful poem by Ryan
It’s that time again to take a break
From the Brightman and Ferret burlesque,
With the time honoured news, filled with the midnight blues,
For better or worse, more or less.
Murders in Oxley, riots in Rocklea, rapes in Indooropilly,
But we’ve heard it all before, and before the end
We may be lucky to hear it all again.
The entertainment today - an
For myself and many others, this semester (pending we don’t sleep
through our alarms come exam day) will be our last at university. As we
approach this momentous change in our lives we begin to make plans for
‘the real world’, giving thought to a wider context and infinite
It can be hard however, to delve into the context
of the wide world for too long. Like watching an
We’re coming to the final weeks of university for the year and also
wrapping up the remix project. I was reading over the interviews earlier
on our blog, and started to think about the concept of participation.
It’s been an interesting collaborative experience working with the other
members of the Creative Industries Project. I can’t help but wonder why
everyone chose to participate in this