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Ahmed Yussuf writes on consumption and the Australian literary scene in this essay from GDS#40.
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“You don’t find it horrifying?” I press him.
“No,” he says. “Because it’s not real.” —Frances Egan
Review by Mikaella Clements.
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Words by Christopher O’Neill and art by James Martin.
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Don’t test my mouth; the truth is my sound — Art and words by Morgan-Lee Snell
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“Would I be another person if I had a voice defined and rooted in my mother tongue?”—Devana Senanayake
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A microphone. An audience. The introduction. … Amal is the author of several books… Something something Muslim, something else that deals with being Muslim… Something more about Muslims. “Hi,” I say into darkness. “So… I’m Muslim.” A roar of laughter….
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Camilla Eustance meditates on the dysfunctional intersection between mindfulness culture and building a brand.
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“I don’t know if I could write under a pseudonym.” — Lur Alghurabi
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“Art is dead. Long live Meme” — Dženana Vucic.
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Eileen Chong tells the story behind her poem ‘Singapore Koel’, featured in Pigeonholed.
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“Can I trust you? Do you have a heart?” — Rafael S. W. wants to know.
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“Illness can grind you down, but also reignite you.” — Amal Awad
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“I remember exactly when I met Adventure Time.” — Emma Michelle
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“Dogs aren’t picky when it comes to the simple mathematics of camaraderie.”
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Bridie Mills on conventional masculinity, undergoing top surgery and his brother’s gift from the grave.
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Kali Myers on the use of animals in Australian art.
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Maria Hach on intergenerational hauntings and the legacy of the Cambodian Killing Fields.
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When you lose control, sometimes the only solace is a simulated life. Matilda Dixon-Smith reflects on The Sims.
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Advertising isn’t as foreign to poetry as you think, argues Ennis Cehic.
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What does it mean to grow up poor? Lisa Dib on class cruelty, the Australian Dream and Adidas tracksuits.
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A Sydney commute uncovers some of the city’s hidden histories. By Philip Keenan.
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What happens to your identity once you alter the shape of your face? Creative non-fiction by Madison Griffiths.
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