Fiona Wright

The word clicked something into place. Bibliomemoir: it was books that had helped me to do this, because I didn’t know any other way to do this. I didn’t think there was anything remarkable about this way of writing the self while I was doing it: it seemed self-evident, inevitable that books would help me think about myself.

Josephine Rowe’s stories are about time. Time as it is lived and as it is recounted; the way it doesn’t just progress, but speeds and slows, persists and lingers.

There’s a point in Carrie Tiffany’s new novel, Exploded View, where the teenage narrator sits in a parked car with…

‘I am really interested in the language that my family speaks, and one day, in my head, I’d like to write a book around all of the idioms I’ve been taught, because Turkish idioms are so much more complex, as well as profane, than English words.’

‘I keep thinking: when I was an adolescent, the idea of being ordinary terrified me. And now it’s all I want.’

‘I really wanted especially to have a voice for those kids who think they’re weird, think they’re strange, and there’s always going to be kids like that.’

‘When my collection, An Elegant Young Man came out, I think it virtually sent me around the bend.’

About halfway through The Recovering, Leslie Jamison writes about a conversation she has with an ex-alcoholic: ‘I listened to his…

Introduction Six Degrees from the City is a podcast about writing in Western Sydney, hosted by the writer and critic…

‘Going back and living in South-West Sydney is very much in keeping with the way I have this very fluid relationship with Bankstown, with the Western Suburbs, I’m part of it but also not part of it too.’

In the opening essay of The World Was Whole, Fiona Wright connects our bodies and our living spaces, and the…

Three new poetry collections, three Australian women poets: Present by Elizabeth Allen (Vagabond), Domestic Interior by Fiona Wright (Giramondo) and…

‘Far from imagining hunger as an art of discarnation, Wright seeks to give it body, simultaneously remarking on the physicality, the sensuality of the experience, and objectifying it as something outside of herself, material enough to protect her from the world.’ Alys Moody on Fiona Wright’s Small Acts of Disappearance.

‘It’s that wonderful mediating effect of writing, its ability to hold things clear that I’ve always been drawn to, and which is very similar to the way in which hunger works.’ Rachel Morley interviews poet, critic, editor and essayist Fiona Wright for the SRB.