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From the Director’s Desk

Editorial: Two Steps Forward...?

Focus: Liam Guilar, Paul Mitchell, John Veron

Autumn Season 2003 Hits the Road!

Out & About

Jack Drake’s Revenge

Alana Hampton Gallery

Your Deal

Vol 5, No. 3— ISSN 1442-0023







Sara Moss, Editor, IP eNews

From the Director's Desk

DR_roofWelcome to the new financial year! With tax returns and the latest Statements of Account now safely behind us we can look forward to more literary activities and a very active last half of the year.

Somewhat belatedly, we are launching our Autumn list in Brisbane, with authors Sally Finn, Louise Waller and Kristin Hannaford warming up with reading events at Chermside Library (Brisbane North) and Logan West Library before the peak event at Riverbend Books. We’re pleased to be partnering with Riverbend, which increasingly is becoming the focal point for live readings on the local bookshop scene. If you're going to be in Brisbane on 13 August, please attend and support these very fine authors.

I’m especially happy to announce that the Australia Council has provided us with another grant this year in support of our publishing program for the next 18 months. The Council commended all of the titles that we put forth to them, but there was only enough money for them to support four new poetry titles:
I'll Howl Before You Bury Me by Liam Guilar; minorphysics by Paul Mitchell; Popular Mechanics by Liam Ferney; and Café Boogie by Jennifer Nixon. The first two books will be released in our Spring 2003 Season in October, while the other two are scheduled for Autumn Season 2004. The Australia Council grant was welcome given Arts Queensland’s lack of support this year.

Other highlights since I last wrote to you included return trips to Orange and Wagga Wagga for multimedia workshops with teachers and readings, Stanthorpe Library for a workshop on setting up a writers’ group the right way, and a publishing presentation for English students at St Hilda’s School on the Gold Coast. I’ll be heading back to the Central West shortly for a full-day publishing workshop at Dubbo’s Western College on 16 August.

Another busy Spring Season is shaping up, with our Brisbane launch of five new books tentatively scheduled for 12 October. Planning for events on the Gold Coast, Sydney, Hobart, Launceston, Melbourne and Adelaide is now under way. Read on for features on three of those titles heading your way!

There’s never been a better time to join our Friends of IP Club to get generous discounts on all of your IP titles, so please do!


Dr David Reiter

Two steps forward...?

In my last column, I served up some complaints about Arts Queensland and the one-publisher culture that seems well-entrenched in this State. I even was so bold as to send a copy of the editorial to Rosemary Sorenson, Book Editor at The Courier-Mail, whose own column had served as inspiration for my own. I hoped that she would see this as furthering debate on what is an important issue for not only the writing community but the arts community as a whole.

Well, Rosemary hasn’t printed anything, or even responded to my covering message. It seems that she is content to air her own views but not those of others. A rather curious stance for a journalist, don’t you think? Mirror, mirror on the wall, whose is the fairest opinion of them all...

That’s not to say that nothing’s been happening since I last wrote to the Minister and the Director-General asking them to expedite the “review” process. About a month ago, the Minister wrote to me to appoint me as an advisor to the very panel I had been criticising!

Perhaps this was an attempt to redress the imbalance from the previous committee on which UQP was represented by two of its employees to the exclusion of other publishers. Or perhaps I was supposed to take the offer at face value: it had nothing to do with me as IP’s Director, everything to do with me wearing my author’s hat, and the Minister was expressing confidence in my ability to not wear my publisher’s hat during proceedings of the committee.

Earlier, the Minister told me in conversation, backed up by a call by the Acting Director-General, that Arts Queensland would be taking my criticism on board by ensuring that no individual who has received a grant will be eligible to serve on the panel until at least a year after the grant period has finished. Seem contradictory? Read on!

Lets give credit where its due: in spite of The Courier-Mails silence on the issue, Arts Queensland (AQ) seems to have taken action by announcing changes to its Cultural Infrastructure Policy (CIP). These will allow ‘eligible organisations to apply for CIP funding, apart from any applications they might make for project funding under the peer review process.

Further, AQ will exclude ‘employees of CIP organisations from participating in the assessment of project grant applications during a round in which their organisation has an application. This is still not good enough because these employees could still protect the interests of their employers between years in which they have to apply. The only way to head off conflicts of interest is to exclude these employees from ever being involved in the assessment of competing organisations.

What this would mean to my appointment as an advisor is that I would never have the chance to assess the application of UQP or any other publisher applying for a grant. Thats fine by me, and it should be fine for the employees of other publishers, too.

This does not undo the damage suffered by IP in the September 2002 grant round, but its certainly two steps forward. But before we break out the sparkling white, well need to see the small print. And there are some very important issues that will still need to be addressed if the new system is to work fairly.

The most important issue is funding. While the structural change AQ has made is long overdue, it will succeed only if the Government injects more money into the system. AQ bureaucrats have already admitted that one potential headache they may have is in deciding between existing CIP clients and new ones clamouring at the gates.

If no new money becomes available, there are only two possible outcomes. The first and most likely outcome would see new clients apply and be knocked back if AQ does not reduce funding to existing clients. Lets call that the Sacred Cow Scenario.

What if AQ does have the backbone to reduce or even eliminate funding to existing CIP clients? Doubtlessly these organisations would mount public campaigns and do their best to reverse the decision. Can you imagine actors and singers hitting the pavement with placards calling for blood? Especially with a State election coming up next year? We can call that the Politically Unwise Scenario.

In the absence of new funding for CIP, we will certainly find ourselves playing out the Sacred Cow Scenario. Existing CIP organisations will have an advantage on several fronts: they already have an effective lobby with the Government; performing arts groups in particular have audiences and subscribers they could mobilise to fight any reduction in funding. They also have the advantage of paid staff who can devote time to the lengthly application process and lobbying key decision-makers.

I can see a Queensland version of Yes, Minister coming on. A CIP Committee of independent spirits meets and decides to fund new clients at the expense of existing ones and puts its recommendation to the Government. The Minister, thinking he might go with the recommendation, floats it to his Private Secretary, who takes a deep breath before commending the Minister on his “courageous” [politically stupid] stance.

The problem is that Queensland has so damned many deserving organisation! It will be hard enough to mediate between old and new clients even with a significant injection of funding into the system. Without new money, the Committees job will be fertile ground for migraines. The Government needs to recognising the contribution that new organisations like IP are making to the Queensland cultural scene by increasing funds to this area. The alternative will see more frustration, in-fighting between competing arts organisations, and ultimately a stagnation of artistic activity at the grassroots.

Fertile ground for Sir Humphrey...


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You could be forgiven for thinking it’s winter, so why should we still be having Autumn events? Of course in sub-tropical Brisbane, "winter" is a relative term, so an "autumn" frame of mind should be allowed to linger. We'll be doing our best to help out in the second week of August, with no less than three events to tempt you away from the fireplace - if you're lucky enough to live in or around Brissie.

SwelterIP has been keen to foster closer ties with the Brisbane Library system. WIth more than 30 branches, it's the largest by far in Australia. Working centrally has its advantages, and we hope to realise in the near future. Up first will be a reading on Tuesday 12 August at Chermside Library, 375 Hamilton Road, 1 p.m. for 1:30 p.m. Kristin Hannaford and Louise Waller will read from Swelter and Sally Finn from Fine Salt.

Tuesday evening, we travel south to Logan West Library, 69 Grand Plaza Drive, Browns Plains for another reading by the same crew. 6 p.m. for 6:30 p.m., so if the cool night air suits you, why not come along?

We know of other libraries that will be watching how we go with these events, so we suggest , if you're interested in seeing more live readings at a library near you, that you show your support in the usual way — by turning up!

Finally, the launch itself at Riverbend Books, 193 Oxford Street, Bulimba on Wednesday, 13 August from 6 p.m. It's been a while since IP's had an event at Riverbend, but the bookshop has become something of a focal point for literary activities in Brisbane, so we're happy to enhance Riverbend's reputation!

Obviously Riverbend is in the business of selling books, Fine Saltso while you're enjoying their hospitality please show them you care about quality Australia content by buying, and buying often!

All three events are free, and the authors have promised to minimise any duplication of selected readings, so why not attend more than one event?

In celebration of extended Autumn we're offering a free postage & handling deal to people who can't make it to the launch. And a special deal for people who order both books or more than one copy of each. Check Your Deal for the details.

[In this issue we preview three of the authors to be launched in our Spring Season 2003. Liam Guilar and Paul Mitchell were winners in the poetry categories of IP Picks 2003, while John Veron talks about his reasons for writing a very entertaining biography of Inge Moessler, who attained cult status on Orpheus Island in the Great Barrier Reef. John is an internationally recognised expert on corals and has written many books and monographs, but this is his first foray into literary writing.]

LG: I’ve never thought of poetry as purely decorative, nor as something confined to universities or an elect few “in the know”. It’s not an art of non-communication. I think you can write poetry that is direct, memorable and intelligent, even mischievous, which carries its learning lightly, and entertains or provokes the reader.

LiamGThere are a lot of writers I admire but my favourite poet is Anon, that genderless genius who composed the great work songs of the sea, the ballads, and the records and investigations of human relationships that make up the British “folk tradition”. Remembering this has allowed me to write about the things that matter to me, in a way that hopefully makes them interesting to strangers. Technically, it means I’m interested in what can be done within the lyric tradition of poetry in English.

When I was nine, I heard a version of the Tain, the story of how Cuchulain saved Ulster. Here was exuberant defiance, and it seemed like a birthright. A single figure standing to defend what he believed in, against overwhelming odds. Much later I read Kinsella’s translation. It’s inevitable that as one grows older each rereading of the story means something different in the light of experience and knowledge. I wanted to do something with that understanding.

In some ways writing this collection was like coming to the end of a long journey, and pausing to take familiar objects out of the kit bag, and reexamine them. So, the first sequence in my book begins with Cuchulain at the ford, and then spirals (aptly Celtic) through a rediscovery of other elements of that story sequence: lust, sex, death, terror, and (to my surprise) the benefits of a literary education.

From the Tain, I moved to folklore in general. I grew up surrounded by story tellers and I wanted to honour that. I’ve spent most of my life travelling to out of the way places. I used this as a way of thinking through the collection. Journeys don’t have to be physical. Poetry allows an exploration of other people’s voices. You can “be” someone else and try on different attitudes and beliefs. The desire to see what’s round the bend on a river is no different to the desire to see what lies underneath a familiar story. If you look closely, apparently innocuous stories like Rapunzel or the Narnia Chronicles start to grow thorns.

Going back to the stories I knew was a liberating movement. The moonlight, wind and water surfaced naturally in the imagery. The other unconscious decision was to let the music I was playing and listening to ripple through it. Some were written with particular pieces in mind. “Poetry and blood” was written to match the rhythm of a slip jig. “A folk tale” owes a great deal to some ney music I was listening to. Others were influenced by particular musicians and, being a lute player, it’s impossible not to admire the lyrics of the Elizabethan lutenists.

Some time ago, at the end of a particularly frustrating period, I spat the dummy and wrote a ranting piece. It will certainly never be published but the last two lines are still important to me: This is my song/and I am singing it

I realise there’s neither profit nor pleasure in trying to sound like anyone else or in trying to mimic what’s fashionable. There is only the pressing need to write: to let the kite out and watch it fly. Hence the title of this collection, I’ll Howl Before You Bury Me.

— Liam Guilar

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PM: I started writing poetry at 16 because it seemed to come naturally – plus I needed somewhere to put my teenage angst and general confusion. I read William Blake and I sensed that his poems were about something ‘underneath’ everyday experience. I looked into the front yard of my parent’s house in Geelong; the ‘underneath’ was beneath their flowerbed and patch of grass. It was somehow beyond the air I was breathing and the bones I was walking around with.

PaulMWhen I write, I’m not always aware of what I’m trying to say. It’s only when reading it later that I question whether this poem is alive? If it is alive to me then it has succeeded in expressing something normally hidden under the surface of everyday experience.

Poetry for me is a kind of thinking that has to be written down. It somehow pierces through my everyday cognitive processes to a language of its own on the page or screen. It seems to occur at random and about random things: from looking at the back of someone’s neck, to wondering why water bottles have different labels.

The beauty of poetry – if you’re someone that can’t make up your mind – is that you can say two or three things in one line and several in one poem. The more I write poetry the more I understand Les Murray’s contention that poetry is the only “whole thinking”.

There are times that this ‘poetry process’ seems deeply connected with emotion, either directly, at the time I’m experiencing it, or later as my mind falls back to the experience. I was moved to write a poem after my wife’s miscarriage several years ago and also after driving through my father’s hometown. But generally the poetry and emotion exist together in a more fragmented way.

There’s no doubt I tackle the notion of contemporary understandings of masculinity in Minorphysics, writing from both my own and others’ experience. I think I went through a stage in my poetry where I was reacting against a long journey into my ‘feminine side’ and tried to recapture – or at least understand – the depths of my masculinity.

I put some of these poems, which form the “Burbin’” part of my book, into a dramatic monologue, called “Sleepless in Braybrook”. A woman who heard me perform it said she was blown away to think that beneath the skin of tough, blokey, swearing, beer swilling meathead (not me – I don’t think!) men, there might be a gentle person capable of being wounded by the smallest and strangest things. To me, that showed my poetry was getting somewhere on the topic.

When it comes to the ‘suburban’ aspect of my work, I search my present geographical setting – and the setting of others I know – for what’s truthfully going on, via a number of voices and characters. I moved into my current suburban address at a time when it was a little ‘rougher’ than it is now and that pushed me to address my own masculinity and the masculinity and femininity of people with, what seemed on the surface, different values to me. It also made me question where the valuableness was in the place I was living. This grated against me because I spent the first 12 years of my life in small country towns.

Minorphysics is not quite the opposite of “metaphysics”. It looks up from below – maybe even further below than subterranean earth – towards shining sheds, collapsing and reforming families, friends – the fullness of life itself.

I hope in reading Minorphysics that you’re shaken up and tested by works that deal with suburban life, death, betrayal and the life of the spirit.

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JV: My life as a marine biologist working on corals has taken me to most countries of the tropical world. There I have worked with the “natives” and thus, hardly surprisingly, I’ve come to know hundreds of people who live a life that is very different from anything we see in Australia. Even so, one person has always stood apart: Inge is the most extraordinary person I ever met, and just about everybody who knew her would say the same.

Many knew Inge as the exotic fun-loving excentric, living alone in a fairy-tale house on a beautiful island on the Great Barrier Reef. Some would come to see her witch-like capacity for penetrating the minds of other people and her all-consuming love of Nature. But the more one would learn about Inge, the more remote from reality she would appear to be. For me she became a challenge, as well as a close friend. It took two decades, but I eventually came to know who Inge was, and why (the only person who ever managed that, according to Inge herself!).

I have written about 100 scientific publications including thirteen books and monographs, but the writing of Inge became a challenge I did not even vaguely foresee. I had to capture the life and mind of someone who I described for the book’s back cover as a ‘femme fatale, aristocrat, hermit, traveller, linguist, outcast and circe, Inge embodies an enduring spirit rarely seen in today’s material world.’ (I might have added ‘comedian’ and perhaps ‘dare-devil’, not to mention ‘witch’, but who would have believed me?)

The challenge was to put all these dimensions of Inge into a book that was true to the person as neither Inge nor I wanted anything fictional. Fifteen years ago I tried to do this, but gave up – it was too hard. But Inge had kept a silverfish-chewed copy of what I wrote. Towards the end of her life (she died last January), she wanted me to finish ‘her book’.

With my redraft I thought I succeeded. As it turned out this was not quite so – Inge still had a way to go. It only got there with the some very good advice from professionals, notably David Reiter of Interactive Publications. I sent the manuscript to IP primarily because of their website: they appeared to offer what I needed, and this turned out to be the case.

Inge certainly enriched the lives of many people: my one wish with this book is that she will continue to do so.

— John Veron

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Maybe it’s just an attempt to keep warm on these chilly winter days, but IP staff are planning the most exciting Season yet, and, chances are, a warm wind is heading your way! Actually our previous Spring Season had just as many new titles, but we were more modest about taking them outside Brisbane during the Season itself. But we’ve found that organising author tours after the major launch helps keep up the momentum, so that’s exactly what will be happening this year — big time!

The new titles are, alphabetically:

I’ll Howl Before You Bury Me by Liam Guilar
Inge by John Veron
Liars and Lovers by David P Reiter
minorphysics by Paul Mitchell
Terminal Velocity by Molly Guy

Howl and minorphysics were the two winners in the poetry catagories of IP Picks 2003, while Liars and Terminal are a novel and a fiction collection respectively. Inge is a new biography from our Glass House Books imprint.

For starters, we’re planning the combined launch in Brisbane, tentatively scheduled for Sunday, 12 October [watch this spot!] That same weekend we’ll have our first-ever event on the Gold Coast, for a very good reason, since Liam Guilar is from Labrador (Queensland, not Canada!] This event, time & venue TBA, will establish, beyond the reasonable doubt of even a Rumpole, that there is cultural life beyond Big Brother and Dreamworld on the Coast. We hope to have at least some of the other Spring list authors there as well. The idea might even tempt a few media moguls to cover it — just out of curiosity.

Then the roadshow moves on to Sydney where David and Liam will be joined by Louise Waller and Kristin Hannaford, whose book Swelter was released in May. IP will have a stall at the Independent Publishers’ Bookfair on 18-19 October and a showcase for its new authors during the NSW Writers’ Centre Spring Festival, which is held at Rozelle. The Centre also plans to host a Meet the Author for David to celebrate the release of Liars and Lovers, which is a satire on contemporary life and relationships [now that we have that theme resolved...]

Next stop for David will be Tasmania and events in support of local author Molly Guy’s Terminal Velocity, which has already had rave reviews from Margaret Scott, David Owen (Island) and Philomena van Rijswijk (Famous Reporter). A reading asociated with the Tasmanian Museum and Art Gallery is scheduled for Molly and David at the old Bond Store on the Hobart waterfront on 25 October from 2-4pm. There will also be a reading in Launceston on Friday, 24 October and perhaps some others along the way.

Then a one-day blitz of Melbourne, where Paul Mitchell’s
minorphysics will be launched on Sunday, 25 October, details to be announced.

The final leg for David will be an extended stay in Adelaide — more details on that in Out & About.

It’s a good thing that he likes to fly...

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A good time was had by all up on the Capricorn Coast in early May at our launch of Swelter by Louise Waller and Kristin Hannaford.

The Rockhampton Art Gallery hosted the first event on 2 May, which was well attended despite competition from various other activities in town that day. Liz Huf, editor of Idiom 23 did the honours by launching the book with kind words about Kristin and Louises many artistic achievements on the local scene. We were also pleased to see Marie Farr, who provided the very distinctive cover art, in attendance.

The next day, after a recording session in Kristin_LouiseYeppoon with Kristin and Louise that yielded some sample readings that you can hear on our site, David had a Meet the Publisher session with several local authors.

The launch that followed on the librarys spacious verandah was informal in keeping with the casual lifestyle of this beachside community. We were pleased by the support of offered by local booksellers like the Yellow Door, which has an impressive array of literary titles, now including Swelter.

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The second leg of our Autumn Season activities took David to Melbourne for the 13 May launch of Sally Finns award-winning first novel, Fine Salt.

The venue this time was the West St Kilda RSL, a historic building complete with stained glass windows, and it was wall-to-wall with Sallys enthusiastic audience, who delivered the most successful book launch weve ever had.

SallyFSince then the orders have continued to flow in, putting Fine Salt on track to be a sell-out. Weve even had an order from a book group who have the novel high on their reading list.

Dont miss out on either of our new titles — order your copies now!

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On his way back from Melbourne, David paid a visit to David Gilbey at Wagga, Wagga. The two met a couple of years ago when David R was writer-in-residence at the Booranga Writers Centre, which is associated with Charles Sturt University. David G is also Editor of WWWW, the journal of the Wagga Wagga Writers Writers group.

DR_DGThe two Davids have kept in contact, so this time around, David R was invited to read to the assembled multitude. He treated them to selections from Kiss and Tell, which did a good job of warming the autumn night!

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Another day, another master class! The venue was a meeting room in Orange Library, and, in this case, the participants were poets who had lived to tell the tale from a previous master class that David had led. More importantly, they had continued to write and they were keen for a return engagement. David reports that all had made significant progress on their pet projects since the first all-day workshop, so he was able to pitch his comments at an even higher level.

The Central-West Writers’ Centre also arranged a session with local high school teachers interested to hear about how multimedia can be used in the classroom. The teachers left the workshop better informed about hybrid artforms like literary multimedia and how they can help their students compose meaningful projects in this area.

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Another first for IP was David’s participation in the Queensland Public Library Association’s Innovations Forum on 2 June. Mackay turned on the showers outside, but the locals, still in the grip of drought, weren’t complaining. It did mean that the lunchtime reading, which was to include Louise Waller, Kristin Hannaford and David, had to be shifted from the gazebo on the lawn outside the conference centre. As it happened Louise and Kristin came down with the dreaded Yeppoon flu and had to cancel their drive up, but the show must go on, so David read from their work as well as his. Judging by the unofficial review from Debbie Burn of Yeppoon Library, he acquitted himself rather well!

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We want to applaud the State Library of Queensland for approving funding to Stanthorpe Library for a workshop that will see a new writers’ group take shape in that country centre south of Brisbane.

Writers’ groups are only effective if they know enough about the genres their members write to give competent constructive criticism. Old habits die hard, so it’s best to start with groundrules that keep the group on track.

DR @ StanthorpeThe library organised some technical help to video the full-day workshop, and IP hopes to eventually make the video available to interested people seeking to give their group a professional edge.

Better yet, if your group would like to host a workshop, get in touch with us!

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Just before press time, David headed for the Gold Coast and St Hildas College, a private girls school, where he gave a talk about publishing and the future of the book. Some of the teachers in attendance noticed a few long faces after the session, which doubtlessly had something to do with the reality check David gave them on their prospects for getting their first novel on the desk of someone at HarperCollins, but at least now they have a few insights into the business side that will hopefully increase their chances of escaping from the slushpile of those publishers who still consider unsolicited manuscripts straight from the author rather than through an agent. Theres a lot more to the game than having a brilliant manuscript!

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One last reminder of David’s online composing and publishing workshop at Western College of Adult Education, Dubbo on 16 August.

The full-day workshop provides an introduction to the essentials of online work and the adjustments that authors need to make in
adapting their work to the digital environment or composing from scratch. David provides case studies from his literary multimedia work, as well as advice on what software packages work best. Participants are encouraged to come with questions.

Bookings are essential. Contact Lindy Allen at the College.

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Old Silvertail, lesser known as Professor David Myers, Publisher of Central Queensland University Press, which he prefers to call Outback Books when he's wearing his gumboots, crossed paths with our Director at the Stanthorpe Art Gallery recently. The occasion was the launch of a new Outback title, The Cattle Dog's Revenge, by local bushpoet celebrity Jack Drake.

DInkumWhile IP doesn’t publish bush poetry, we do admire quality spoken word material when we hear it, and that’s exactly what we got from Jack, who definitely looks the part, and who seems to have a fetish for seeing Rottweilers ravished by cattle dogs.

He has one delightful poem that takes the mickey out of citified poets who turn their noses up at their bushy cousins. Even so, in the interests of cross-generic harmony, David made Jack an offer even a bushranger couldn't refuse. IPS, our distribution wing, will take on a supply of Jack's two CDs and market them, starting now.

CattledogJack’s poetry has a serious as well as a humourous side, but in each case you’ll find a craftsman at work, someone who deserves to be heard more widely. Dinkum Poetry or his latest The Cattle Dog's Revenge — which do we prefer? It’s a hard call. For this price you can buy both and give away number two to a friend.

You’ll find both titles waiting for you on our orders page. And while you you’re waiting for them to arrive, please keep your cattle dog on his lead, mate!

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Were pleased to showcase the work of Alana Hampton, whose striking work 'Moon Rose’ features on the cover on Liam Guilar’s I’ll Howl Before You Bury Me.

Alana works at St Hilda’s College at Southport, Queensland. She has a gallery of her own on the Net at From there, go to Artist’s Login, type alanahampton and then the password “zimba”.


Deal 1: Spring Back to Autumn

Did you miss out on our Autumn Season events? Won’t be in Brisbane for our August tour. Never mind – with this deal you can still be there in spirit. Order both Swelter and Fine Salt for the package price we offer at tour events: $40 (GST included). That’s a savings of $6. Plus we’ll throw in free postage and handling for an additional $7 savings. Order by email, quoting YD:19_1. Payment by cheque, money order or EFT only. Credit card orders, add $2.

Deal 2: Spring Forward into Spring

Our Spring Season list will include five new titles:

I’ll Howl Before You Bury Me, poetry by Liam Guilar
Inge, a biography by John Veron
minorphysics, poetry by Paul Mitchell
Liars and Lovers, a novel by David P Reiter
Terminal Velocity, fiction by Molly Guy

To buy all five titles separately, you'll pay $149. Pre-order on or before 30 September and we’ll send you the lot for $125 (postage and GST included). That’s a savings of 20% off the cover price and 50% off the postage charge. Order by email, quoting YD:19_2. Payment by cheque, money order or EFT only. Credit card orders, add $5.

FIPC members get a further 10% discount off the cost of either package plus free postage. Sign up now and get the benefits of Club membership today.

Offers available only to individuals. One order per household, please.