The good chaps from MWF 2010 have refurbished a shipping container on the river terrace near Fed Square for the purpose of showcasing local literary magazines. It’s a great idea, and the refurbishment is reminiscent of TINA ’09’s Masons club, but a shipping container is not the easiest thing to find, so turnouts to these showcases have been small so far.
But small and intimate can be a good thing; The Lifted Brow felt very much like a family event. The editor(s), intern(s), contributors, readers knew or at least had heard of each other, and there was a bit of conversation between those on stage and audience members.
Half of the literary magazines have already had their turn in the shipping container, but Meanjin, Ampersand, harvest, and The Big Issue will be running fifteen-minute bursts of readings, interviews, and entertainment next Saturday and Sunday, so do drop by for a sticky beak in between other MWF events. For more info on dates and times, check out MWF’s Magazine page.
Meanwhile, here’s some snapshots from yesterday morning’s Lifted Brow:
The cosy interior of Magazine, MWF’s shipping container.
Tiffany Murray talks about featuring the geography of her childhood in her novel ‘Diamond Star Halo’. As a kid, she grew up in a recording studio and hung out with the likes of Freddie Mercury.
Krissy Kneen is currently writing a new novel. Sometimes, she gets sidetracked by other projects, so she tries to make up for it by further exploring the novel’s theme in these works.
Jonathan Walker shows off his new book, ‘Five Wounds’, published by Allen and Unwin. He’s currently working on a photographic project, capturing images of Venice as a modern city.
Lorelei Vashti poses for the camera. Later on, she’ll hijack the stage with a Alanis Morisette CD and ask us to shape Cs and Ls with our arms for Courtney Love.
Laura Jean McKay discusses her short story, ‘One Hundred Cobs of Corn’, which was written from a Cambodian’s POV. Apparently, Australian readers have issues with her writing from an ethnic perspective. There was also talk of Ronnie Scott’s editing style or ‘hacking’ as he prefers to call it.