{"id":299,"date":"2012-02-19T19:04:48","date_gmt":"2012-02-19T08:04:48","guid":{"rendered":"http:\/\/www.dislocated.org\/?p=299"},"modified":"2020-07-27T21:08:28","modified_gmt":"2020-07-27T10:08:28","slug":"octopuses-oilslicks-and-earthquakes","status":"publish","type":"post","link":"https:\/\/www.dislocated.org\/?p=299","title":{"rendered":"Octopuses, oilslicks and earthquakes"},"content":{"rendered":"

The last six or eight months have been all about writing. A few recent highlights from 2012:<\/p>\n

GREW PRIZE<\/h3>\n
\n

\"\"2011 GREW Prize for Non-Fiction<\/strong><\/a><\/p>\n

Awarded to the writer\/s ‘whose work has been deemed most original and influential.’ The award includes a week-long residency, manuscript appraisal and mentoring.<\/p>\n<\/div>\n

EAR TO THE GROUND<\/h3>\n
\"\"\u2018Ear to the Ground<\/a>\u2019, Griffith Review<\/em> 35: Surviving, February 2012. <\/strong>
\nA long essay looking at the Christchurch earthquakes and their aftermath. What happens when a series of radical events strike a conservative place?<\/div>\n

SUNDAY STAR TIMES<\/h3>\n
\"\"\u2018Ear to the Ground\u2019 , Sunday Star Times<\/em> (NZ), Sunday 19th<\/sup> February 2012.<\/strong><\/div>\n
A 2500 word extract from the longer Griffith Review essay, focussing on the destruction of Christchurch’s conservative heritage.
\n<\/strong><\/div>\n
\n

SLICK<\/h3>\n<\/div>\n
\n
\n

\"\"\u2018Slick<\/a>\u2019, The Big Issue<\/em>, Annual Fiction Edition , October 2011.<\/strong><\/p>\n

Short fiction about an oil slick, the world\u2019s most ambitious advertising campaign and the Second Coming. Check out an extract published on Arts Hub<\/a>.<\/p>\n<\/div>\n

OCTOPUS<\/h3>\n
\n

\"\"\u2018Octopus<\/a>\u2019, Griffith Review<\/em>, Annual Fiction Edition 34, December 2011<\/strong><\/p>\n

\u201cProbably my favourite of the whole collection, Nicolas Low\u2019s \u2018Octopus\u2019 , is set in New Zealand and cleverly combines Maori culture with fears of terrorism, fears of the outsider, and fears of an ancient, apocalyptic understanding.\u201d \u2013 Bookseller + Publisher Magazine<\/a><\/em><\/p>\n

\u201c… a pleasingly diverse collection. Where Williams, Morgan and others use traditional narrative forms, others do not. Nicolas Low moves to more experimental registers in Octopus … Indeed, there is not a flat note in this collection. It shows us Australian contemporary fiction is in fine fettle.\u201d \u2013 Weekend Australian<\/a><\/em><\/p>\n

An interview about the genesis of ‘Octopus’: http:\/\/griffithreview.com\/insight-in-the-mind-of-the-writer\/interview-with-nicolas-low-author-of-octopus<\/a><\/p>\n<\/div>\n

PUNKASILA INDONESIA<\/h3>\n
\n

\"\"\u2018Punkasila Indonesia<\/a>\u2019, Art Monthly<\/em>, issue 244, October 2011<\/p>\n

Art, punk and politics contemporary Indonesia.<\/p>\n<\/div>\n

SEOUL CITY ROLLING<\/h3>\n
\n

\"\"\u2018Balloon and Hyung-seok and Bo Yeon and Seoul city rolling<\/a>\u2019, Cordite Poetry Review<\/em>, issue 35:2, August 2011.<\/strong><\/p>\n

Reportage about a three-day, three-night tour of the underbelly of Seoul: red light districts, abandoned industrial precincts, Mongolian worker districts and the Gate of Corpses; and the resulting collaboration between Australian writers and Korean architects and designers.<\/p>\n

ARTSTART 2011<\/h3>\n
\"\"2011 Art Start Grant from the Australia Council for the Arts<\/strong><\/div>\n
Funding towards a full year’s writing development. Incredibly useful!<\/div>\n
<\/div>\n<\/div>\n

DUMBO FEATHER<\/h3>\n
\n

\"\"\u2018New Zealand Creative Immigration\u2019<\/a>, Dumbo Feather<\/em>, issue 27, April 2011.<\/strong><\/p>\n

\u2018New Matilda and the future of publishing<\/a>\u2019, Dumbo Feather<\/em>, issue 27, April 2011.<\/strong><\/p>\n

Crowd sourcing and writing; why so many creative New Zealanders live overseas, and what might happen if they all moved home.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The last six or eight months have been all about writing. A few recent highlights from 2012:<\/p>\n

GREW PRIZE<\/p>\n

2011 GREW …<\/p>\n","protected":false},"author":2,"featured_media":310,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15],"tags":[],"class_list":["post-299","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-writing"],"_links":{"self":[{"href":"https:\/\/www.dislocated.org\/index.php?rest_route=\/wp\/v2\/posts\/299"}],"collection":[{"href":"https:\/\/www.dislocated.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.dislocated.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.dislocated.org\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.dislocated.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=299"}],"version-history":[{"count":18,"href":"https:\/\/www.dislocated.org\/index.php?rest_route=\/wp\/v2\/posts\/299\/revisions"}],"predecessor-version":[{"id":425,"href":"https:\/\/www.dislocated.org\/index.php?rest_route=\/wp\/v2\/posts\/299\/revisions\/425"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.dislocated.org\/index.php?rest_route=\/wp\/v2\/media\/310"}],"wp:attachment":[{"href":"https:\/\/www.dislocated.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=299"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.dislocated.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=299"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.dislocated.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=299"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}