Maybe I am a mess. Maybe neither I nor Bridget are messes. Maybe you aren’t a mess. Perhaps, we are all just trying our best, and maybe just maybe that is good enough.
Kuang is very aware of her radical purpose: “I am a Western author writing to a Western audience in a Western literary tradition.”
An understated piece of art, The Quiet Girl is one of those films that stays with you long after you leave the cinema. In few words, it speaks to being quiet in a noisy world — perhaps the deepest connections transcend language.
What Harper has done is crucial and commendable. Exiles symbolises a modern Australia willing to abandon a reductionist view of domestic abuse.
In his 2022 memoir, Stay True, Hua Hsu illustrates how a young self is formed.
Thoughts on Natalia Ginzburg’s All Our Yesterdays.
Bodies of Light is a beautifully controlled account of a life devastated by systemic failure.
On Jessica Au’s novel Cold Enough for Snow (2022), the winner of the Inaugural Novel Prize.
The literary maze of ‘The Idiot’ novelises the mundanity of campus life.
Zines can be anything its writers desire. Accordingly, they’re a space for the marginalised to design their future.