The last time I subscribed Voiceworks, I was twenty-four and spending most of my salary on clothes from high-end-fashion chain stores. When my subscription and my submission eligibility ran out, I bagged all of my old issues and donated them to a local high school. What was inspiring for other subscribers was depressing for twenty-five-year-old me: these ‘youngsters’ were creating work that I had no hope of emulating.
Two years on, and I’m ready to grapple this journal bitch. Lured to the Wheeler Centre by speak of a guest appearance from Nam Le, I went to the Voiceworks ‘Classic’ launch and picked up my copy of Issue 79.
In her editorial, Bel Monypenny writes about Henry Lawson and Banjo Paterson and her failed attempts to mimic their bush poetry style. Issue 79 isn’t about reworking what has come before in style and genre, but more ‘classic moments made new and intriguing by fresh eyes, distinctive voices and unique perceptive detail’: ‘familiar moments—drunken teenage rebellion, questioning the life you’re born into, your first big night out, the death of a loved one.’ However, as I read through ‘Classic’, this theme did not seem present in any of the pieces, which suggests that Issue 79’s writers have managed to avoid what is easy and cliché.
There’s some striking fiction in this issue: Luke Rule’s ‘Pulling Down the Sun’ stands out as an example of literary speculative fiction; dealing with the supposedly banal themes of death, sex, and violence, Claire Marshall’s dark piece, ‘The Edwardians’, also grabbed my attention; and prize winner, Amelia Schmidt has created beautifully fluid, dreamlike work in ‘House-sitting for My Mother’—‘my mother and father disappear in an aeroplane and I pack myself into a suitcase’.
The non-fiction is also particularly strong: Michelle Walter’s ‘Getting Off the Staircase’ is evocative enough to work as either fiction or non-fiction/memoir; Sam Cooney’s column on writer workspace meanders from Roald Dahl to Jonathan Safran Foer, whilst Kate Leaver’s column tackles incest and society’s fascination with sexual violence.
What I enjoyed most, however, were the interviews. I’m not sure if this a recurring section, but Voiceworks talks to a few of its contributors in Issue 79. There’s also a conversation with emerging writer Jessica Au who discusses working on her novel, interning at Sleepers, and her writing process.
And so, despite its youthfulness, and my twenty-seven-year-old bitterness, I took a liking to Voiceworks or at least its current manifestation. ‘Classic’ is available at the usual independent bookstores or you can subscribe to Voiceworks at their website here.