A Journal of Australian & International Cultural Reviews, News and Criticism.
Is file agus scribhneoir dátheangach, amharc ealaíntóir, síceolaí cairte i Julie Breathnach- Banwait. Tá sí páirteach i bhfoireann eagarthóireachta Tinteán.
Margaret O’Brien formerly lectured in English and Creative Writing at Waterford Institute of Technology (now SETU). Her book, Weather Report: a 90-day journal for reflection and well-being, with the aid of the Beaufort Wind Scale was published in 2022.
Robyn Rowland is an Irish-Australian citizen, living between Ireland and Victoria for over 36 years, and working in Turkey since 2000, Robyn lives in regional Victoria. In December 2019 – March 2022 she was back living in Australia, caring for her father who died at 102. Her most recent book is Steep Curve (Five Islands Press, 2024).
‘Season of Brigid’ is a poem from Anne Casey’s new collection, The Light we Cannot See, and was also a cornerstone piece in the series of Irish cultural shows Anne performed in last year with the Prankqueans arts collective, which were funded by the Consulate General of Ireland. Irish actor/performance artist, Davog Rynne recorded a reading of ‘Season of Brigid’ which will appear on his forthcoming album.
Karen J McDonnell lives in the Burren, in the West of Ireland. Her writing in several genres has been published in many countries in anthologies and journals.
T.A.R. Wallace (he/his) is a yoga therapist and table tennis coach living on Dja Dja Wurrung country, Australia. His poems have been published in The Brussels Review, Conduit, Big Score Lit, The Poetry Lighthouse, Meanjin, Heat, Australian Poetry Journal, and others. He won the Lane Cove Literary Awards Poetry Prize 2023.
Susan Hawthorne is a poet, novelist and publisher who lives and works on Djiru Country in Far North Queensland. Her most recent books are the novel Dark Matters and the poetry collection The Sacking of the Muses. Her book Cow was shortlisted for the Audre Lorde Poetry Prize and the Kenneth Slessor Poetry Prize.
I can feel Karen’s notions swirl about in all her poems. Each stanza is like a stork landing a bag of words to shape and make a coherent form from a dream or a thought. I like how each poem makes sense of a thought and brings it to life.
In reading Lisa Collyer’s poetry collection, Gold Digger, I was struck by how she writes poems that are battle-line hardy, staunchly feminist, with a working-class sensibility and a gendered understanding of both out-of-home work and the domestic sphere
Rochford Street Review 