‘Nearly every writer here seems wary of the risks of putting something on the record and into the crosshairs of the governable. The space between the lines is heavy with purposeful omissions as well as inherited silences.’
I reviewed the latest Liminal anthology, Against Disappearance (ed. Leah Jing McIntosh and Adolfo Aranjuez), for The Saturday Paper.
Liminal Vol. II is sickening in chartreuse with 200 pages of Asian Australian excellence across art, writing & conversations. And it features my first collage: six pages of archival treasures and commentary on Chinatown from the 1800s to the 1980s. Buy it here.
I don’t see a divide between literary and genre. Writing spec fic and horror connects me to a sense of who I am, my roots and psyche where the world of the real and the world of the unreal isn’t so binary.
Lian Low is a writer and a former editor-in-chief of Peril. I interviewed her for Liminal, mining her insights on the queer, the monstrous, and the last thirty years of Asian Australian arts and culture.
I have a piece in Liminal’s second anthology and it’s my very first collage, a sort of annotated time capsule from Chinatown, Melbourne in the 1880s, 1930s and 1980s. Pre-order here to get 200+ pages of Asian Australian excellence including art, poems, essays, fiction, comics, conversations & more.
But essentially space is also land. I think that’s where I contest this differentiation between ‘IRL and URL’ digital and physical space. They aren’t separate. There’s no third space that we occupy online. Our government dictates how we access digital spaces and connections, and infrastructures are imbued by the people who made them.
I loved talking to artist Sab D’Souza about feelings and the internet for the Liminal Magazine x Hyphenated Biennial series. Read it here.
If you read one thing about me, let it be this interview in Liminal magazine. Thanks Maddee Clark for untangling a decade of my work – from poetry to journalism and beyond – and Viet-My Bui for the beaut illustrations.