{"title":"Essays \u0026 memoir","description":"\u003cbr\u003e","products":[{"product_id":"kevin-hart-the-impossible","title":"Kevin Hart, The Impossible","description":"\u003cp\u003eBorn in the UK, Kevin Hart grew up in London and Brisbane, and now lives in the USA. He is the author of nine collections of poetry, including Flame Tree: Selected Poems (2002). He has won both the Victorian and NSW Premiers’ Awards for Poetry, and the Christopher Brennan Award for a sustained contribution to Australian poetry. His published works include studies of Jacques Derrida, A.D. Hope, Samuel Johnson and Maurice Blanchot, and a translation of the poems of Giuseppe Ungaretti.\u003c\/p\u003e\r\n\u003cp\u003e2006. 48pp. ISBN\u0026nbsp;0975150618.\u003c\/p\u003e\r\n","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240983409,"sku":"","price":10.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/kevin_hart___the_impossible.jpg?v=1347954911"},{"product_id":"kevin-hart-ed-nowhere-without-no-in-memory-of-maurice-blanchot","title":"Kevin Hart (ed.), Nowhere Without No: In Memory of Maurice Blanchot","description":"\u003cp\u003ePublished shortly after Blanchot’s death in 2003, \u003cem\u003eNowhere Without No: In Memory of Maurice Blanchot\u003c\/em\u003e is a work of mourning by the friends of the great French writer, critic and philosopher. Including Jacques Derrida’s eulogy to Blanchot, \u003cem\u003eNowhere Without No \u003c\/em\u003egathers together work by Jean-Luc Nancy, Lydia Davis, Pierre Joris, Charlotte Mandell and many others.\u003c\/p\u003e\n\u003cp\u003eBorn in the UK, Kevin Hart  (editor) grew up in London and Brisbane, and now lives in the USA. He is the author of nine collections of poetry, including Flame Tree: Selected Poems (2002). He has won both the Victorian and NSW Premiers’ Awards for Poetry, and the Christopher Brennan Award for a sustained contribution to Australian poetry. His published works include studies of Jacques Derrida, A.D. Hope, Samuel Johnson and Maurice Blanchot, and a translation of the poems of Giuseppe Ungaretti.\u003c\/p\u003e\n\u003cp\u003e2003. 56pp. ISBN 097515060X.\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240983511,"sku":"","price":20.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/kevin_hart__nowhere_without_no.jpg?v=1347955000"},{"product_id":"noel-rowe-ethical-investigations-essays-on-australian-literature-and-poetics","title":"Noel Rowe, Ethical Investigations: Essays on Australian Literature and Poetics","description":"\u003cp\u003e\u003cstrong\u003eWinner of the 2009 Walter McRae Russell Prize \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e“Ethical Investigations \u003c\/em\u003ecomprises twelve essays written by Noel Rowe between 1986 and 2007, and edited after Noel’s death by Bernadette Brennan. It was awarded the 2009 Walter McRae Russell Prize for the best work of literary scholarship on an Australian subject. The collection combines both published and previously unpublished essays. It reflects and documents the work of one of Australia’s finest literary critics, bringing together insights and reflections developed over an all too brief scholarly life. When she launched this collection at the University of Sydney in 2009, Elizabeth McMahon spoke eloquently of the gift that it constitutes, not only as an invaluable resource for scholars of Australian literature, but also as an uncompromising reminder of what she called ‘the value’ of Rowe’s critical attention: ‘a habit of attention to words, to the world, to the nuance of a moment, that refuses to deflect its gaze from the business of observation, assessment, subtlety and precision.’ This collection reminds us that critical work at its best draws us into an ethical relation with the world, a relation that reconstrues our sense of both poetry and terror, of the gaps and the links between artistic responsibility and what Rowe calls the writer’s ‘duty of learning’.”\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBrigitta Olubas\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eNoel Rowe\u003c\/strong\u003e (20 June 1951 – 11 July 2007) was a poet who lived in Sydney, Australia, and was Senior Lecturer in Australian Literature at the University of Sydney where he was also awarded the University Medal (1984) and doctorate (1989). His books include \u003cem\u003ePerhaps, After All\u003c\/em\u003e (Vagabond, 2000), \u003cem\u003eNext to Nothing\u003c\/em\u003e (Vagabond Stray Dog, 2004) and \u003cem\u003eTouching the Hem\u003c\/em\u003e (Vagabond, 2006). He was co-editor of the literary journal \u003cem\u003eSoutherly\u003c\/em\u003e. He also, with Vivian Smith, edited \u003cem\u003eWindchimes: Asia in Australian Poetry\u003c\/em\u003e(Pandanus Books, 2006). In 2005, Rowe was awarded the \u003cem\u003eWilliam Baylebridge Memorial Prize\u003c\/em\u003e for poetry. He was also invited to read his poetry at International Festivals in Rotterdam (2005) and Jerusalem (2006). He had particular interest in the interrelationship between literature, theology and ethics. Rowe died on 11 July 2007, after being ill for two years. He is deeply missed by the Sydney poetry community he did so much to support and encourage.\u003c\/p\u003e\n\u003cp\u003eEdited by Bernadette Brennan.\u003c\/p\u003e\n\u003cp\u003e2008. 240pp. ISBN 978-0-9805113-1-4.\u003c\/p\u003e\n\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/akdv\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":240983613,"sku":"","price":30.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/rowe_essays.jpg?v=1347955092"},{"product_id":"adam-aitken-100-letters-home","title":"Adam Aitken, One Hundred Letters Home","description":"\u003cp\u003e\u003cstrong\u003eWinner of the 2021 Patrick White Literary Award\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBeautifully written, tightly structured, \u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e is as profoundly moving as it is intelligent and playful. There is the experience here of time's shifting nature, the way me\u003c\/span\u003e\u003cspan class=\"text_exposed_show\"\u003emory, need and desire work across the layers of narrative that shape a life, told, untold, remembered, misremembered and forgotten. Memory's work rolls through Aitken's perfectly measured storytelling, vivid and mesmerising in its detail, in the detours and return, in a work that is as aware socially and politically, as it is compassionate and vulnerable. This is a rare work of memoir, expansive in its cultural scope, in the precision of detail and acceptance of the failures of memory, self and family, common to all of us in their variation. Between laughter and tears, the underlying emotional grit and relentlessness of \u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e shifts things, changes you, as Aitken calls to account the past's ongoing presence in how we are to ourselves and each other.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e'Aitken’s memoir is less about obsessive, biographical exactitude, and more a movement towards excavation and piecing-together fragments into a distinct identity. The book’s rawness is a manifestation of his remembering and recollecting, like a story torn from an old newspaper, or a confession inside a much-folded letter.' Adam Aitken's\u003cem\u003e One Hundred Letters Home\u003c\/em\u003e reviewed by Ivy Alvarez in \u003ca href=\"http:\/\/southerlyjournal.com.au\/wp-content\/uploads\/2017\/06\/ALVAREZ-of-Aitken-One-Hundred-Letters-Home.pdf\"\u003e\u003cem\u003eSoutherly\u003c\/em\u003e\u003c\/a\u003e.\u003c\/p\u003e\n\u003cp\u003e\"Adam Aitken’s evocative memoir probes the reasons his father married his mother, an ‘Asian woman’, by researching family history, experimenting with Plots A, B, and C, and intertextual references to Christopher Koch’s 1995 novel \u003cem\u003eHighways to a War\u003c\/em\u003e, Graham Greene’s \u003cem\u003eThe Quiet American\u003c\/em\u003e, and Marcel Proust’s ‘Swann’s Way’ translated into Thai by his uncle. He tests the construction of his hybridity, the notion of his Asian ‘face’ and where it might be welcome, and where and with whom a trans-Asian citizen belongs.\" Gay Lynch, Transnational Literature\u003c\/p\u003e\n\u003cp\u003e\"There is no labyrinth more difficult to thread, no enigma more baffling, than that represented by our own parents; nor any quest for understanding more seductive, indeed necessary, to attempt. In \u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e Adam Aitken has accomplished the impossible with grace, acumen, humour, pathos and a beautiful sense of when to stand back and let the story tell—or not tell—itself. He has also given us a unique insight into the Asian-Australian milieu of the second half of the twentieth century. And something else as well: a passionate excursion amongst the perils and illuminations of soul-making.\" Martin Edmond\u003c\/p\u003e\n\u003cp\u003e'\u003ci\u003eOne Hundred Letters Home\u003c\/i\u003e is a beautiful story that charts what is lost, and what is carried through our chaotic, multi-faceted lives. Always, home is a destination that forms a reference point, while remaining a permanent space of longing, forgiveness and recognition.' \u003ca href=\"http:\/\/www.compulsivereader.com\/2021\/05\/05\/a-review-of-one-hundred-letters-home-by-adam-aitken\/\"\u003e\u003cem\u003eCompulsive Reader.\u003c\/em\u003e\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cspan style=\"line-height: 1.4;\"\u003eAdam Aitken, \u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"line-height: 1.4;\"\u003e2016. 304pp. ISBN 978-1-922181-04-6. \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"line-height: 1.4;\"\u003eRelease date: April 2016.\u003c\/span\u003e\n\u003cp\u003e\u003cspan style=\"line-height: 1.4;\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cimg alt=\"\" src=\"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/AdamAitken_medium.jpg?7961921651604523270\" style=\"margin-right: 2px; float: left;\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003eAdam Aitken\u003c\/strong\u003e is a London-born teacher and writer who migrated to Sydney after spending his early childhood in Thailand and Malaysia. He has published five full length collections of poetry. \u003cem\u003eIn One House\u003c\/em\u003e, nominated in the Australian as one of the best poetry collections for 1996;  \u003cem\u003eRomeo and Juliet in Subtitles\u003c\/em\u003e shortlisted for the John Bray South Australian Literary Festival Award, and runner-up for The Age Book of the Year poetry prize; \u003cspan\u003e\u003cem\u003eEighth Habitation\u003c\/em\u003e\u003c\/span\u003e (Giramondo Publishing) shortlisted for the same award in 2010, and most recently Archipelago, shortlisted for the Kenneth Slessor Award for 2018. In 2021, Adam Aitken received the Patrick White Literary Award.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eHis writing shows a deep interest in contemporary cultural issues, especially issues of Asian-Australian identity and cultural hybridity.  His work has been translated into French, Swedish, German, Polish, Malay and Mandarin, and is published internationally. In 2010-11 he spend time as Distinguished Visiting Professor at the University of Hawaii, and Poet in Residence at the Keesing Studio in Paris. He co-edited the contemporary Asian Australian Poets anthology (Puncher \u0026amp; Wattmann) in 2013. His creative non-fiction work includes \u003cspan\u003e\u003cstrong\u003e\u003cem\u003eOne Hundred Letters Home\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e (Vagabond Press 2016). \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":3247077380,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/AitkenFC.jpg?v=1435022789"},{"product_id":"sybille-smith-mothertongue","title":"Sybille Smith, Mothertongue","description":"\u003cp\u003eFrom street dogs of Buenos Aires to street cars of Vienna, from Sydney in the1940’s to the puzzles of return journeys and the enigmas of ageing, these precisely observed and finely crafted essays are by turns moving, funny and profound.  More than a memoir, they are an investigation of the act of remembering and the intricate part language plays in retrieving the past:\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eThere is a sort of continuous band of surface memory, registering daily events and able to deliver a printout at any time. There is a deeper level of archival data, which you can scroll through for a specific piece of information. And there is cutting a hole in the ice and lowering a line into the black water.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003eThese pieces are both entertaining and thought-provoking, and reveal a unique voice among contemporary essayists.\u003c\/p\u003e\n\u003cp\u003eSybille Gottwald was born in Vienna and came to Sydney in 1938 with her family. They settled on a small block of land in West Pennant Hills. From Hornsby Girls’ High School she attended the University of Sydney, where she studied German and English Literature. She was subsequently appointed  lecturer in German at the University of Tasmania, where she met her husband, the poet Vivian Smith. She lived in Hobart until she returned in the late 1960s to live in Sydney with her husband  and their three children. Her study, \u003ci\u003eInside Poetry\u003c\/i\u003e, appeared in 1985, and a long essay, Art and the Experience of Randomness, was published in the collection \u003ci\u003eOn Being Human\u003c\/i\u003e in 1990. Over the years various essays and reviews have appeared in the Hobart Mercury, the \u003ci\u003eSydney Bulletin, Quadrant, Southerly\u003c\/i\u003e and the \u003ci\u003eBest Australian Essays \u003c\/i\u003e2013 and 2014.\u003c\/p\u003e\n\u003cspan\u003eMemoir\/Essays\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e2016 | ISBN 9781922181909 | \u003c\/span\u003e\u003cspan\u003e203 x 133 mm\u003c\/span\u003e\u003cspan\u003e | 100 pp  \u003c\/span\u003e\n\u003cdiv\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/div\u003e\n\u003ciframe style=\"width:550px;height:350px\" src=\"https:\/\/online.anyflip.com\/wuapt\/roem\/index.html\" seamless=\"seamless\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\"\u003e\u003c\/iframe\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":20468208132,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/9781922181909_Front_Smith.jpg?v=1466036522"},{"product_id":"william-i-elliott-shuntaro-tanikawa-a-taste-of-tanikawa","title":"William I. Elliott \u0026 Shuntarō Tanikawa, A Taste of Tanikawa","description":"\u003cp\u003eLimited edition of 300 copies (200 available in Japan, 100 available in Australia).\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eNarrowed down from the vast range of historic arguments about the nature of poetry, it would make more sense to focus not on poets and poetry but on one individual’s—Shuntarō Tanikawa’s—body of poems. A—perhaps the—central finding will be that he writes in order to communicate with other people; and just as often with himself, for that matter; and although poems can be viewed as a way of talking to oneself, his main intention would seem to be to talk to himself and others. Asked often, 'Why do you write poetry?' His answer might well be, responding to the questioner, 'Well, why don’t you write poetry?'\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSpanning over a half a century of collaboration and friendship, \u003cem\u003eA Taste of Tanikawa\u003c\/em\u003e is a testament to how, like friendship, great literature transcends culture and language to communicate straight to the heart of what it means to be human. William I. Elliott, with Kazuo Kawamura (1933-2015), has translated Shuntarō Tanikawa’s work since the 1960s, the three of them working hand-in-hand to bring into English the work of one of contemporary poetry’s most legendary figures. Combining reflections by Elliott with poems by Tanikawa in translations by Elliott, Kawamura and Katsumasa Nishihara, A Taste of Tanikawa distills a lifetime of poetry and friendship. This unique and warmhearted collection offers a meditation on the art of poetry and translation where poetry is first and foremost the communication of shared human experience.\u003c\/p\u003e\n\u003cp\u003eBoth born in 1931, Tanikawa and Elliott’s friendship and commitment to poetry are running as strong as ever. The work they’ve shared and the work ahead will no doubt continue to change world poetry for the better for years to come. \u003cem\u003eA Taste of Tanikawa\u003c\/em\u003e offers a gentle and profound testimony to the value of poetry, dedication to craft and the deep wellspring of friendship and human communication at the heart of literature.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eShuntarō Tanikawa\u003c\/strong\u003e ’s collections include \u003cem\u003eTwo Billion Light Years of Solitude\u003c\/em\u003e (1952), \u003cem\u003eWith Silence My Companion\u003c\/em\u003e (1968), \u003cem\u003eCoca-Cola-Lessons\u003c\/em\u003e (1980), \u003cem\u003eRather than Pure White\u003c\/em\u003e (1995), \u003ca href=\"https:\/\/vagabondpress.net\/collections\/translation\/products\/shuntaro-tanikawa-watashi\" target=\"_blank\"\u003e\u003cem\u003eWatashi\u003c\/em\u003e\u003c\/a\u003e (2007), \u003cem\u003eThe Art of Being Alone: Poems 1952-2009\u003c\/em\u003e (2011), \u003cem\u003eKokoro\u003c\/em\u003e (2013) and \u003ca href=\"https:\/\/vagabondpress.net\/collections\/facebook\/products\/tanikawa-shuntaro-ordinary-people\" target=\"_blank\"\u003e\u003cem\u003eOrdinary People\u003c\/em\u003e\u003c\/a\u003e (2020), all of which have helped to bring Japanese poetry into the contemporary world and to keep it there. But word-play and prose poems and renga, essays, and CDs with his composer son Kensaku, film scripts and even acting begin to suggest his wide range of achievement. At ninety he is still going strong.\u003cbr\u003e\u003cbr\u003eAt ninety years of age \u003cstrong\u003eWilliam I. Elliott\u003c\/strong\u003e has lived more than half of those years in Japan.  He teaches to make a living. He writes and translates poems to make his living, though less profitable, more meaningful. William I. Elliott has co-translated some seventy books of Japanese poems. His current co-translator, Katsumasa Nishihara, is also the translator of\u003cem\u003e A Taste of Tanikawa\u003c\/em\u003e. The poems in this book were the work of Elliott and his first co-translator, Kazuo Kawamura, now deceased. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eKazuo Kawamura\u003c\/strong\u003e (1933-2015) lived virtually life-long in celebration of the poetry of Percy Bysshe  Shelley. He gave critical attention to such other poets as Wordsworth, Yeats, Larkin, and Shuntarō Tanikawa. From 1947-2015 every day, literally, found him engaged in the translation of Tanikawa's poems. He spent the final seventeen years of his life as Professor Emeritus of English Literature at Kanto Gakuin University in Yokohama, Japan. He was co-translator with Elliott in the poems included in \u003cem\u003eA Taste of Tanikawa\u003c\/em\u003e. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eKatsumasa Nishihara\u003c\/strong\u003e’s work includes \u003cem\u003eThe Field of Imagination\u003c\/em\u003e (1998), \u003cem\u003eLight Verse In America\u003c\/em\u003e (2010) and with William I. Elliott, \u003cem\u003eThe Singing Heart\u003c\/em\u003e (2001). He has also translated seven books of poems by Shuntarō Tanikawa.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eFirst published in Japanese by Nanorokusha in 2021 as \u003cbr\u003eA Taste of Tanikawa 谷川俊太郎の詩を味わう \u003cbr\u003eTranslated by Katsumasa Nishihara.\u003cbr\u003e\u003cbr\u003e William I. Elliott \u0026amp; Tanikawa Shuntarō,\u003cem\u003e A Taste of Tanikawa\u003c\/em\u003e\u003cbr\u003eTranslations by William I. Elliott, Kazuo Kawamura and Katsumasa Nishihara.\u003cbr\u003e\u003cspan\u003e2022. 125 mm x 176 mm. 80pp. \u003c\/span\u003eLimited edition of 300 copies.\u003cbr\u003eISBN 978-1-925735-43-7\u003cbr\u003e\u003cspan\u003eRelease date: March 2022\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePhoto of Shuntarō Tanikawa \u0026amp; William I. Elliott: Yasuhiro Yotsumoto (2021).\u003c\/span\u003e\u003c\/p\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":41716199096477,"sku":"","price":30.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/products\/Tanikawa1.jpg?v=1646368619"},{"product_id":"marian-macken-our-concealed-ballast","title":"Marian Macken, Our Concealed Ballast","description":"\u003cp\u003e'Situated in ‘a strange liminal time between a death and a birth’,\u003cem\u003e Our Concealed Ballast \u003c\/em\u003eis a bracingly hybrid work that combines elements of memoir, personal essay and art criticism. Built from a series of discontinuous passages, Marian Macken’s book reinvigorates what it means to ‘hold space’ for others — as a parent and an architect — in the wake of bereavement. Yet it is also a work concerned with time, chronicling the ways that grief and anticipation texture the present’s ongoingness.\u003c\/p\u003e\n\u003cp\u003eIt is a significant achievement to introduce, as this book does, a new spatio-temporal vocabulary for understanding and processing the experience of loss. This includes its formal fragmentation: each of its passages provides a temporary habitation, while the cuts between them activate a sense of dislocation and unmooring — as well as the possibility of another chronology. With poise and imagination, Macken has probed an almost unbearable gulf between moving and moving on.'\u003c\/p\u003e\n\u003cp style=\"text-align: right;\"\u003e\u003cstrong\u003eShortlisted for the 2024 NSW Premier's Literary Awards\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDouglas Stewart Award for Non-Fiction Judges' comments\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e‘The opening of this book slaps the reader in the face with an impossible loss, a giant yet stealthy explosion. The shrapnel of grief caused by this event scatters throughout the rest of the book’s pages. Macken is interested in motherhood, in people, places, and spaces. How we shape the world around us and are shaped by it.’ \u003cbr\u003eELIZABETH ALLEN in \u003cem\u003eThe Village Observer\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003c\/em\u003e\u003ci style=\"caret-color: #000000; color: #000000; font-family: Calibri, sans-serif; font-size: 14.666667px; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none;\" data-mce-fragment=\"1\" data-mce-style=\"caret-color: #000000; color: #000000; font-family: Calibri, sans-serif; font-size: 14.666667px; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none;\"\u003e\u003cspan style=\"color: black;\" data-mce-fragment=\"1\" data-mce-style=\"color: black;\"\u003eOur Concealed Ballast \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-family: Calibri, sans-serif; font-size: 14.666667px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none; color: black;\" data-mce-fragment=\"1\" data-mce-style=\"font-family: Calibri, sans-serif; font-size: 14.666667px; font-style: normal; font-variant-caps: normal; font-weight: 400; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: #ffffff; text-decoration: none; color: black;\"\u003eweaves together reflections on motherhood, grief, attachment, and the moments that mark our movements through the world. It is a study of loss, its dimensions and atmosphere, and how these change over decades. A house on the river with a frangipani; an archive of drawings; a photograph taken by a father; a post office in West Harlem – the book pins together intimate moments and places which resonate to become a way of relating to the world. Renewing the memoir form within a spatial logic, passages communicating elusive ideas are precisely placed; these gather to deliver an emotionally taut reading across each spread of facing pages. Macken’s voice is direct and sparse, visceral and passionate, as she digs into the meaning and structure of the personal archive that we carry through life – the ballast of emotion and solace which keeps us steady. \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e‘A profound exploration of subjectivity and space, relatedness and grief. Macken’s prose is a controlled—and clarifying—burn.’\u003cbr\u003eSARAH KRASNOSTEIN\u003c\/p\u003e\n\u003cp\u003e‘A brave reckoning with unimaginable loss interspersed with vignettes of art, architecture, books and the unpacking of memory. Its intricate construction of place, time and grief is profoundly moving.’\u003cbr\u003eCHRIS BARTON\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003eMarian Macken\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e is a writer, researcher, educator and artist \u003c\/span\u003e\u003cspan\u003etrained in architecture, landscape architecture and visual art\u003c\/span\u003e\u003cspan\u003e. Born in Sydney, Australia, \u003c\/span\u003e\u003cspan\u003eMacken is Associate Professor at Te Pare School of Architecture and Planning, \u003c\/span\u003e\u003cspan\u003eWaipapa Taumata Rau \u003c\/span\u003e\u003cspan\u003eUniversity of Auckland, New Zealand.  Her creative practice research and writing\u003c\/span\u003e\u003cspan\u003e primarily focus on architectural drawing. Her work has been acquired by various international public collections of artists’ books and she has undertaken funded artist residencies and exhibited internationally. Her book \u003cem\u003eBinding Space: The Book as Spatial Practice\u003c\/em\u003e was published as part of the Routledge Design Research in Architecture series in 2018. Her next book,\u003cem\u003e Bodies and Space in Architectural Drawing: Line, Movement and Scale\u003c\/em\u003e, co-authored with Carl Douglas, will be published as part of Bloomsbury’s Drawing In series.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMarian Macken, Our Concealed Ballast\u003cbr\u003eAugust 2023. 148mm x 210mm. 112pp. \u003cbr data-mce-fragment=\"1\"\u003eISBN 978-1-925735-51-2\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThis project has been assisted by Waipapa Taumata Rau The University of Auckland.\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv style=\"text-align: start;\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/UoALogoWhite4ColLandscape_240x240.png?v=1687231617\" style=\"margin-bottom: 16px; float: none;\"\u003e\u003c\/div\u003e","brand":"Vagabond Press","offers":[{"title":"Default Title","offer_id":42833115480221,"sku":"","price":25.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0182\/8349\/files\/Macken_cover.jpg?v=1687819378"}],"url":"https:\/\/vagabondpress.net\/de\/collections\/memoir.oembed","provider":"Vagabond Press","version":"1.0","type":"link"}