Simplicity and dedication are two apt words to sum up The Pink Book, a collection of images and memoirs from Henry Von Doussa. The book is a series of personal essays and collages bound in an exquisite coffee-table book; it bursts with colour and nuance yet simplicity and dedication to the characters and stories that lie within.

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For many years, Jan Napier worked in travelling carnivals, but nowadays she belongs to Perth’s community of poets. To date, she has three full-length books with WA publishers. Listening to Frost complements her haiku book Day Moon (Mulla Mulla Press 2020) and inherits the concerns of her debut collection Thylacine (Regime Books 2015).

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In Jane Skelton’s What the river told me there is a strong connection to place, landscape, the natural environment, and the human trace on it.

Many of the poems were written during a 2018 writing residency in Northumberland, England; on travels to Scotland where Jane was conducting research on the early life of the colonial entrepreneur Ben Boyd; and then at Boydtown near Eden on the south coast of New South Wales where a tower is testimony to a man’s ambition to build a town.

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In this multi-layered collection, poet and activist Louise Crisp details threatened species in the East Gippsland region of Victoria, and in doing so addresses the global environmental crisis. With uncanny clarity, tree gliders, brolgas, and other local creatures draw us into a network of ecological losses.

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The Density of Compact Bone is a visionary book by a poet who is also an accomplished novelist, reviewer and interviewer. Structured in four parts, it is a layered and deeply poignant collection, permeated by the twin themes of ecological precariousness and human connectedness.

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The pathetic fallacy of mined earth sets a precedent for a collection that explores turbidity, extraction and devastation, in multiple forms. At the level of language, the most resonant for a poetry collection, Dinić explores the multiple excavations needed to recapture stolen histories of her past.

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The tile of his new book Heard-Hoard, derived from the phrase “word-hoard” which appears in the poem ‘North’ in a book of the same name by Seamus Heaney (North, Faber and Faber, 1975) is perfectly coined. It positions Riley as a recorder and hoarder of words but also of stories, place and sounds.

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