Publishing

What makes a book distinct from a meme if both are dependent on a web of intertextual references, some of which are digital and some which rely on the printed page?

Instead of approaching the stage I approach Australia Post on Blacktown’s Main Street, and instead of thanking the Vice-Chancellor I thank the woman at the counter as she hands me an envelope with the certificate inside. I head out the door as the first in my family to graduate, and the first to graduate during a pandemic.

As social life becomes increasingly mediated by digital tools, it is ever more imperative to understand how people incorporate technology into their routines, as well as how technologies spark new forms of engagement, identity, and interaction.

Just as certain weather conditions must be present for a rainbow to be visible, so the environment has to be right for literary titles from Aotearoa to be seen and noticed in Australia.

Poems speak to us through panic and fences, closed doors, forests, rivers and distanced days. Their atoms lodge somewhere within us and we carry them close, hoping that, in the inferno of loss and uncertainty, the intensity and ambiguity of poetry can salvage something.

As with many others, I have been thinking about questions of value in relation to Australian books and writing for some years. I have often pondered how to articulate such value, and also where, when, and to whom we might make an argument for it. Does it even make sense for Australian writers, readers, book industry spokespeople and educators to invest our limited time in making carefully calibrated arguments?

Each of the editors in Literary Lion Tamers was successful in large part because of their ability to persuade authors to be published by them and, then to convince readers to buy their books.

The archive shows that Anderson enjoyed both very limited editorial intervention into Tirra Lirra by the River and suffered from the over-reach of her publisher. In each case the manuscripts and letters reveal comments made by reviewers and critics emphasising the significance of Anderson’s archival record. The archives speak loudly about the power of editing and publishing practices both as a spark and a wet blanket.

Poetry, I had surmised, could do so many amazing things for nonfiction – technically, stylistically, spatially. Why couldn’t it be recognised as a valuable mode to challenge and expand nonfiction?

Why does the publishing industry elevate white writers over #ownvoices writers when it comes to the experiences of communities of colour? It happens because books like American Dirt and Act of Grace fit comfortably with mainstream stereotypes, they don’t challenge white and Western readers to think and see First Nations people and people of colour in their depth and complexity. It happens because the sensationalist depiction of brutal violence and trauma in the Great White Novel sells. Both American Dirt and Act of Grace have plenty of stomach-turning scenes of gratuitous violence, rapes, and beatings. At a time when there is global concern about the plight facing refugees, migrant children being caged and separated from parents, the horrors of offshore detention and border walls, the publishing industry has peddled us these exploitative and cartoonish depictions that produce an easy empathy rather than forcing readers to reckon with their own positionality in structures of power, and the deeper problems that require action.