loft readings next week - me back in sydney

The Loft Readings present

Jill Jones
Kate Fagan
Fiona Wright

Thursday 13th November
UTS Studio (NOT The Loft)
6.30for 7pm

UTS Studio/Performance Space
Building 3 (Bon Marché), Room 105
(Corner of Harris Street and Broadway Road, Broadway.
Entry on Harris St)

Entry: $5/$3 for Students and working/unworking poor
For More Information:
Berndt Sellheim: berndt.sellheim [@]

The Loft Readings could not continue without the support of the Faculty of Arts and Social Sciences at the University of Technology, and generous funding from The Literature Board of The Australia Council for the Arts.

Kate Fagan is a poet, songwriter and editor whose publications include The Long Moment (Salt), Thought’s Kilometre (Tolling Elves, UK) and return to a new physics (Vagabond). She is a former editor of the US-based journal of innovative poetry How2. She is from one of Australia’s pre-eminent folk music families, The Fagans, and her album Diamond Wheel (MGM) won the National Film & Sound Archive Award for Best Folk Album.

Fiona Wright is a Sydney poet, whose work has been published in a variety of journals, magazines and newspapers, in Australia, Asia and the USA. She has worked as a project assistant for the Red Room Company, which publishes unusual poetry projects, for five years, and is an editor at Giramondo Publishing and HEAT. Her first chapbook will be published this year by Puncher and Wattmann Press.

Jill Jones has been widely published in Australia as well as in a number of print magazines in New Zealand, Canada, the USA, Britain and India. She is also widely published online. Her latest books are her fifth full length work, Broken/Open (Salt, 2005), which was short-listed for The Age Book of the Year 2005 and the 2006 Kenneth Slessor Poetry Prize, Fold Unfold (Vagabond, 2005) poems written in response to paintings, and a handwritten book, Speak Which (Meritage Press, 2007).


Popular Posts

Questions, but no answers: while editing a manuscript

Viva the Real - shortlisted!

‘The fast fold of fret lines’: Intimacy, ecopoetics, and the local