2014
MARCH
to APRIL
March
Saturday 15th:
Tour of the exhibitions
at Wagga Art Gallery
then Art, Verse & Vignette
Writing Workshop
at E3 art space
1.00pm to 4.00pm
Friday 21st:
Art, Verse & Vignette
Readings at Wagga Art
Gallery 6.00pm to 8.00pm
April
Wednesday 16th
AGM
at WWCC Library
5.00pm to 7.00pm
22nd to 5th May:
Writer-in-Residence
Ron Pretty
Thursday 24th:
Reading
with Ron Pretty
at WWCC Library
5.00pm to 7.00pm
Saturday 26th:
Writers’ Workshop
with Ron Pretty
at Booranga
2.00pm to 4.00pm
Ron Pretty
Ron Pretty is an Australian poet,
publisher and teacher. He has
been a leading figure in the
Australian poetry scene for
decades.
For a twenty year period he ran
Five Islands Press, publishing
some 230 books of poetry and
mentored an entire generation
of the best Australian poets.
He edited the magazines Scarp:
New Arts and Writing and Blue
Dog: Australian Poetry for a
number of years.
Ron Pretty was instrumental in
establishing the Poetry Australia
Foundation, now known as
Australian Poetry Ltd, and has
run an Online Workshop for the
AP for several years.
He was awarded the NSW
Premier’s Award for Poetry and
made a Member of the Order
of Australia for services to
Australian literature.
He has taught writing in the universities of Wollongong and Melbourne, as well as in
schools, colleges and a broad variety of community organisations.
Over the last 35 years much of Ron Pretty’s inexhaustible energies and formidable
intellectual vigour have been devoted to poetry publishing and poetry policy at a national
and international level.
A richly deserved grant from the Literature Board of the Australia Council provided him
with a respite: six months at the Whiting Studio in Rome to rest, walk, eat, think and write.
The result is his eighth book of poetry, What the Afternoon Knows – reflections on life,
poetry, family, the world and the nature of things.
Booranga Writers’ Centre
McKeown Drive (Locked Bag 588) Wagga Wagga NSW 2678
staff are in every Monday (9.00am-3.30pm), Tuesday (9.00am-11.30am), Thursday (9.00am-2.30pm)
phone: (02) 6933 2688 – [email protected] – www.csu.edu.au/faculty/arts/humss/booranga
Review by John Upton
What the afternoon knows by Ron Pretty
Pitt Street Poetry, 2013
For Ron Pretty, the everyday is marvellously complicated. He’s
in a hotel bar in Wales, the Welsh Dining Club is ‘eating out in a
language rich and strange’, a birthday party is ‘agog with singing’,
two young men are flirting with a blonde waitress ‘who shocks
me with her flush / of free flowing hair’. Then, suddenly, he’s back
in Junta-ruled Greece 40–odd years ago, involved with a young
woman who, ‘behind closed windows’ is ‘singing for love, singing
for freedom’ in a town with ‘rifles guarding the bakery’. Then back
to Wales, and the two young men exit the bar holding hands with
each other, not the waitress, who ‘takes my empty / memories and
smiles as I too climb the stairs’.
This poetry is about complexity of the commonplace and
mysterious connection. Pretty relishes humanity’s contradictions
and frustrations. He’s on top of his craft, shrewdly observant, witty,
practical rather than flashy, never tired.
‘Argini’, the poem noted earlier, is the fifth in the book, but themes
of memory, age and ‘what’s underneath’ flourish from the start. The
first poem, ‘Theseus At Eighty’, opens:
I am in the third level of irritation
in the Library of Forgetting.
But under the white hair, other things are happening. The poem
is as much about guilt and suppressed memory as imminent
Parkinson’s disease:
There was a girl ... I am in the third age
of irritation, this file is an accusation I do not wish
to answer, a fiction I will never recall. Her face.
The nightingale. I sailed away. Black sails.
Background knowledge of Theseus helps here as this poem
is packed with the legend’s imagery, and readers who do not
know that connection will miss a great deal. In the last two lines
above, for instance, the short sentences are significant yet are not
explained; it’s surprising that a poem with many external allusions
was chosen to open the book. Still, it’s a striking piece. Typically,
Pretty supplies enough information to make his poems selfcontained and approachable to the reader (he is, after all, primarily
about communication). He enjoys himself playing with tropes that
invoke King Lear, Juliet, Lazarus, Rupert Brooke and Keats … yet,
occasionally, the lines sag to a bit cheesy: ‘Hey, Rupert, I’ll brook no
interference’, from ‘Rupert’.
Pretty’s modernist-tinged eye is cool and ironic, as in ‘From The
Terrace’, a poem about transcendence (with a wink to Prufrock’s
mermaids):
It is as I promised you. This calm night
starlit, autumnal warmth, cars on the highway,
streaming away for Easter, the neighbours
screaming each to each, as is their love;
and I, ensconced on the terrace, wine in my glass,
in the silence ...
He watches the moon ‘bloated and rising’ with ‘silent cranking’ as
it’s ‘levered across the eastern rim’. He sits ‘listening to the lies it has
to tell me’, yet he’s at peace, ‘listening / intently as the first Adam in
the silence’ …
Lyric is not his
favoured mode.
At times, Pretty
forgets himself
and abandons
the wry, worldly
edge, as is evident
in the first half
of the beautiful
‘Four Hands’:
There are such moments: once in Vienna
looking out at that white winter
while behind me four hands at the keyboard,
Schubert and his magic shaping those crystals,
a filigree of ice on the window tree.
Evening was falling, the light was fading
from his eyes, his minor key coughing
blood onto the manuscript as the notes sang ...
The language is inventive and sharp throughout the book, but these
poems have destinations, plenty to convey and believe in getting on
with it. Beneath the conversational tone, a narrative drives.
The collection’s range is broad. There’s sly humour in ‘Barista: A
Love Story’; Australian attitudes are satirised in ‘Anthem’ when
‘my anthem sings of citizens tired of politics / and all who threaten
them with the future’; and apocalypse follows in ‘The Last Half
Hour’.
What the afternoon knows arrives in three sections. The first is a
wide-ranging collection of themes and style; reflective, humorous,
occasionally fierce. The second is a sequence of 15 sonnets, also in
a variety of styles, including typographical forms split into columns
that can be read across or downwards. Section three opens with a
fine series of poems on overseas adoptions from different points of
view. In ‘Folders’, a Sri Lankan lawyer is handing to four anxious
white couples the details of children whose impoverished mothers
have agreed to give them up. In ‘Doubts’, an adoptive mother
feels secret guilt. ‘Planes’ explores the loss felt by birth mothers
who’ve surrendered their children. ‘Blue Movies’ catches the
racist nastiness adoptive mothers can encounter in Australia as ‘a
stranger’s face looms over the pram’:
Such a pretty little child. Is it yours?
Your mother stiffens as she nods. The stranger
looks again from parent to cinnamon child.
Oh dear she says, the father must be devilish black ...
Apart from exploring contemporary legal and moral issues, poems
in this section operate as metaphor for the randomness of life,
birth, and have yet a third resonance – ruminating on Australia’s
‘stolen children’.
In a poem titled ‘Envoi’, Pretty begins with a Swedish proverb, ‘The
afternoon knows what the morning never expected’. The poem
reflects on life from his isolated childhood to the discovery of
teaching and women (in random order), love and children and an
afternoon full of writing. This is a rich collection from a life well
examined.
Posted 10 September 2013 – www.cordite.org.au
March – April 2014
|
2
FREE Writing Workshop: Saturday 15 March, 1:00 – 4:00pm
An open workshop using the exhibitions on display for inspiration – The Art of
Costuming: Costumes from Opera Australia; Tony Mott Rock Photos; and Jeff
Carter: Beach, Bush and Battlers; – followed by a writing workshop in
the E3 art space, responding to the artwork.
Readings: Friday 21 March, 6:00 – 8:00pm
Join us for an evening of vivid, engaging writing – in the voice of the
creator – prose, poetry and reflection. Participants will read from their
pieces, written in response to the exhibitions. This event is free and all are
welcome, with light refreshments to be provided by the Gallery.
Presented in partnership by Wagga Wagga Art Gallery and Booranga Writers’ Centre
(Note: To assist with the organisation of the Reading event, participants should advise the Gallery which works they have chosen to write about, by 5.00pm, Friday 21 March)
Enraptured – The Art of Costuming and Tony Mott Rock Photographs
Main Gallery: 15 February – 6 April
Presented by Casula Powerhouse Arts Centre, two extraordinary exhibitions in
one great show explore the intertwined worlds of music and costume.
The Art of Costuming: Costumes from Opera Australia:
Step into the enchanting world of opera costumes. Take a unique and intimate
look at what goes on behind the scenes of an opera production, from the
perspective of its costume and wig designers and makers. Discover the intricacies
and nuances which bring a character to
life through the magic of costumes.
Tony Mott Rock Photos:
Tony Mott is one of, if not the, world’s
leading music photographers. His
images have a seminal place in the
history of Australian rock. His portraits
show music artists in both intimate
and stage environments and his work
ideally communicates the diverse and
fascinating ways in which costume is
used by musical artists. In this exhibition,
Tony also shares the strange and
wonderful stories of what unfolded
behind the photographs.
Costume
worn by Joan
Carden as
Countess
Almaviva in
The Marriage
of Figaro,
Opera
Australia,
2000.
Designed
by Michael
Stennett
Costume worn
by Dame Joan
Sutherland
as Elettra in
Idomeneo,
The Australian
Opera, 1979.
Designed by
Oscar winner
John Truscott.
Right: Keith Richards, 1995, MCG Melbourne.
Left: The Divinyls, 1987, Sydney.
Below: Queen, 1985, Entertainment Centre, Sydney.
March – April 2014
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3
Beach, Bush + Battlers: Photographs by Jeff Carter
Margaret Carnegie Gallery: 15 March – 18 May
This photographic exhibition features 100 images from the
State Library’s collections by photographer Jeff Carter.
Jeff Carter (1928–2010) was a remarkable storyteller. For
over 60 years he travelled Australia, using photography to
celebrate the lives of ‘ordinary’ people at work and play,
thereby producing one of this country’s most historically
significant photographic archives. The works in Beach, Bush
+ Battlers have been selected from Carter’s extraordinary
collection of over 50,000 images of Australian life, spanning
1944–2010.
The Jeff Carter photographs in Beach, Bush + Battlers have
been selected from his remarkable, historically significant
archive of over 50,000 works celebrating the lives of
everyday Australians in rural, outback, urban and coastal
communities dating from the late 1940s through to today.
Curator Sandra Byron, the leading expert on Carter’s
work, says about the exhibition: ‘Carter’s iconic images
are a testament to his respect for ordinary people and his
commitment to the Australian landscape and environment.’
Above: The Drover’s Wife,
Urisino Bore (1958}
Left: Droving Sheep, Deniliquin
Stock Route (circa 1954)
Far right: The Bullocky,
Telegraph Point (1955)
Carter (also an acclaimed author and award-winning filmmaker), continued to travel and photograph into his eighties.
When not on the road he lived on his 45 hectare property,
Glenrock Farm Wildlife Refuge, Foxground, which he had
gazetted into a Wildlife Refuge in 1962.
Right: Body
Language (circa
1966)
Left: Stockman
Ti Tree Station,
Northern Territory
(circa 1975)
Below left: Australia
The dreamer,
Starvation Bore
(1963)
Below right:
Tobacco Road,
Ovens Valley (1956)
March – April 2014
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4
fourW twenty-four launch
Wagga Wagga launch was 23 November 2013
Booranga Gallery
Above: Helen with Jo Wilson-Ridley
Left: Daniel King, who flew from Perth, reads his entry in
fourW twenty-four
Far left: Michel Dignand reads his entry
Below: Some of the crowd at the Wagga Wagga City
Library enjoying the proceedings
Below right: David Gilbey
fourW launches
It was a first for me, attending all three
launches of fourW, this time twenty-four.
It was quite exciting to read my included
poem to three separate audiences.
David Gilbey did his usual brilliant job as
Master of Ceremonies at each and every
one, and read his ‘ironing kind of guy’
poem which charmed and amused all.
I counted around seventy in attendance
on Saturday at the Wagga Wagga Library.
As she graciously set the afternoon in
motion Charles Sturt University’s Head
of Campus, Miriam Dayhew, told us
that twenty-four issues almost made a
generation – 2013 will be the big one.
The next day Claire Baker, Michael Crane
(more about him later) and I joined David
Gilbey as he drove to Robarta Restaurant
and Bar, in Fitzroy Street St Kilda, for the
Melbourne Launch.
Corey Wakeling, poet and poetry editor,
launched the issue. Both Claire and
I managed to entice family into the
audience and, taking into consideration,
that this was our first time at this great
location, a satisfactory crowd attended.
It was late in the evening when we arrived
back in Wagga.
The following Saturday Mark O’Flynn,
novelist and theatre producer starred
at the Sydney launch at our much loved
Gleebooks. This is a perfect location and
we are always made to feel very welcome.
The aforementioned Melbourne writer,
Michael Crane, has had work in fourW
many times over the years and we were
pleased to have his book Postcards from
the End of the World: a Michael Crane
sampler of Poetry and Prose launched by
David Brooks to finish the afternoon.
All in all, the launches of fourW twenty-four
were another cracking success.
by Joan Cahill
March – April 2014
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5
Melbourne launch of fourW twenty-four
at Robarata Nightclub, 24 November 2013
Above: David Gilbey with Claire Baker
Top right: Corey Wakeling launching 4W twenty-four
Below: David Gilbey, Joan Cahill and Claire Baker
Above: (left to right) Joan Cahill, Corey Wakeling, David Gilbey, Claire Baker and
Jarrah Dundler
Below: Jarrah Dundler reading
Above: Claire selling books!
Far right: Broede Carmody reads his entry and winner of the best short story, ‘Wet Season’.
March – April 2014
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6
Sydney launch of fourW twenty-four at Gleebooks, 30 November 2013
Above: David Gilbey (left) with Mark O’Flynn
Top right: Mark O’Flynn launching 4W twenty-four at Gleebooks
Right: Michael Crane reading from his book, Postcards from the End of the
World: a Michael Crane sampler of Poetry and Prose
Mark O’Flynn Shares His Speech
Welcome to Gleebooks for the launch of
4W 24, which kind of has a ring to it. Much
better than, say, 1 W 96
A number of years ago now, when
I was researching a book, I wrote to
David Gilbey and asked him how many
supermarkets there were in Wagga? It was
pretty in-depth research. David wrote
back and said: “What a delightfully postmodern question for a Tuesday morning.”
In a way that story kind of sums up what
this year’s anthology is about, and what
the niche is that 4W has carved for itself. A
journal of extremes and paradoxes.
First of all there’s the cover which is
speaking to me – Viva la Wagga.
I remember hearing that when the first
issue of 4W came out – 24 years ago
the covers fell off the entire print run.
That is the ink fell off the covers and the
glue fell off the spines and the covers
fell off the contents. So they need to be
congratulated, not only for giving us a
magazine of such superior quality, but
more importantly for surviving in an
environment not entirely sympathetic to
the goals of a literary magazine. Clearly,
the production values have this year
surpassed themselves. Check out the
glossy colour supplements. I don’t think
the covers are going to fall off this one. Or
at least, it’d take a bit of work.
versatility – what we might call editorial
bendiness.
But what about the contents? Maybe the
contents of volume one shook the covers
off…
Let me see if I can illustrate what I mean:
Of the 12 short stories we get quite a
range.
Rich and varied, you might say, like
Graham Norton interviewing Anne Frank.
We get the fraught realism of Beverly
Lello’s story Sleeping Diagonally, or the wry
domesticity of A Confession from Emily
Shaw, contrasted with the nightmarish
surrealism of Daniel King’s Train of
Thought.
Not only do we get some quality writing
from people from whom we have come
to expect quality writing, we also get
the unexpected and the surprising new.
Perhaps it’s experiment, perhaps it’s new
directions. There’s no sense of the writers
or the editors resting on their laurels,
they’re still trying to push the envelope, or
to paraphrase Robert Frost, they’re trying
to make their next poems different from
their last.
And it works – this kind of hybrid mix.
As I said – a magazine of extremes. 4W
has always had a dilemma in aiming to
give voice to those writers I would call its
traditional constituency, while balancing
that with publishing the urban and
urbane work of other writers who must
form a substantial proportion of their
contributors. It would be interesting to ask
David how they balance that dichotomy.
It would seem to demand flexibility,
We get the personal versus the political;
the comic versus the poignant; the local
right next to the international.
There are pieces from Japan, the
Philippines, Canada, the US. In fact there is
quite an international flavour to this issue.
Viva la Wagga! And quite a rural Riverina
flavour as well. The old City and the Bush,
or perhaps the Pacific and the Bush. All
this and more!
Rory Harris sums this up beautifully in his
poem with: “He once chopped wood in a
sarong.”
That is to say, there is everything from
traditional realism to the outlandishly
experimental.
We get the Booranga prize winning poem
from omnipresent Brett Dionysis with
March – April 2014
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7
a further sequence of his astonishing
sonnets who says,
“this is the kind of river where a ferry
man perishes if he falls into it.”
I’m always a little wary of the
predominance of fishing as a subject in
Australian poetry, perhaps because I’m
not a fisherman, but it seems to me as
though Dionysis nails it.
We also get some Chandleresque crime
stories juxtaposed against the domestic
sublime: David Gilbey, for instance, tells us
“I’m an ironing kind of guy.”
And there are also some first timers
mixed in with the more familiar names
like Les Wicks, Jena Woodhouse, Graham
Rowlands, Nathan Curnow, Kerry
Glastonbury, Susan Hawthorne among
many others
This from Louise Darcy.
‘Don’t suppose you do credit, do you?’
Fred straightened up and stared at
him, ‘Do I look like a total idiot?’ he
said.
To Neil, Fred did in fact look a bit of an
idiot.”
Or this sage advice from Matt
Hetherington:
“If you get writers block
Try listening to someone
Or sprinkling hundreds and thousands
on your arse.”
I’ll let that image sit with you for a
moment.
We also get poets writing poems distinctly
different from their last poems. Rory
Harris, who I often associate with the
lovely little haiku pearls of poems gives
us a long piece, chopping wood in his
sarong. Michael Farrel writes a very funny
and accessible poem, and some no hoper
called Mark O’Flynn writes a completely
indecipherable poem, God knows what
that means.
I’d like to finish by reading Graham
Rowlands poem, given that he lives in
South Australia and probably missed the
bus to be here.
(MAX 3.5 – see page 140)
So without further ado I’d like to crack
the bubby over the head of 4W 24 and
congratulate all the people involved in
giving voice to so many writers in what
seems a continually shrinking market.
4W is a stalwart. They should also be
congratulated for being able to make the
cover stay on. And finally congratulations
to the writers as well, and the readers who
sail with her. You won’t be disappointed.
And just in case you were curious there
are about seven or eight supermarkets in
Wagga. Seven or eight, that’s just about
perfect.
4W 24 – you’re launched.
Get your copy now!
$25 each or 5 copies for $100
We also have copies of some back issues available for sale.
Contact us for more details.
Phone: 02 6933 2688
Email: [email protected]
“All good books are alike in that they are truer than if they had really happened and after you are finished
reading one you will feel that all that happened to you and afterwards it all belongs to you: the good and the
bad, the ecstasy, the remorse and sorrow, the people and the places and how the weather was.
If you can get so that you can give that to people, then you are a writer.” – Ernest Hemingway
March – April 2014
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8
Poetry by
Phillip Muldoon
Cancer
Headed North
It hangs there
above us all
licking its lips
salivating
Under a molten sun
my tongue hanging out
like the sock from my shoe
a thumb thrust into the wind
to ride the dusty roads
headed north
to a place I’ve found
where this wound
that bleeds when I’m away
heals in the saltwater
and a girl I know
runs to me
to plant kisses on my lips
and pleads
to take root with her
in her wooden shack
down by mangrove creek.
we gather round
our mate
cocooned in its web
in white sheets
white hospital blankets
black and hairy
corpulent
fangs drawn
abseiling down
to suck the last
of our mates goodness
the last of his sweetness
leaving a shell
like an insect in its web
we bleed
with prayer on our lips
our feet, somehow
caught in its trap.
Music
You are there when I look ahead
there when I look behind
the sound of a lone clarinet
filling my ears
and saddening my heart.
You are there when I close my eyes
there when I open them up
Mortal Sins
That wail
a child’s cry
that comes from far away
over the land, over the sea
hungry for food
clean drinking water
a safe and warm bed
drowned out
by the music of the machine.
I think only of myself
my needs, my wants
as I slip
twenty dollar notes into the slot
like tucking bills
into the briefs of a stripper
until I am alone and empty
as the credits in the machine.
Our Booranga
Writers' Workshop
FREE
Saturday 26 April
2.00pm to 4.00pm
with Ron Pretty
all are welcome
Booranga Writers’ Centre
McKeown Drive, CSU
https://twitter.com/Booranga
https://www.facebook.com/Booranga
the sweet sound of your song
now filling the senses
of somebody else.
Would you like to see your writing here?
Booranga News welcomes the submission of original writing. Poetry, prose, lyrics,
free-form, fiction, nonfiction, memoirs, travelogue, journaling, fanfiction, and more!
March – April 2014
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9
Copies of Fusion: Recipes and Stories from the
Riverina are available from the Booranga
Writers’ Centre, Wagga Wagga City Council and
the Multicultural Council of Wagga Wagga for
$15.00 each or 4 copies for $50.00
Fusion: Recipes and Stories from the Riverina is a project developed in partnership
with The Multicultural Council of Wagga Wagga. It’s publication was funded
by a grant from Regional Arts NSW, and the production of the book was also
supported by Wagga Wagga City Council and Charles Sturt University.
Submission Guidelines
Booranga News welcomes contributions.
They should be emailed to the editor,
Debbie Angel, at director@booranga.
com or to the president, David Gilbey at
[email protected].
We have no preference as to the typeface
as contributions will be altered to house
style when they are received. Items may
also be posted.
It is helpful if there is only one space after
a full stop or other punctuation, and the
en dash ( – ) rather than the hyphen is
used where appropriate. The hyphen
should only be used in ‘hyphenated’
words.
Original items are most welcome. We are
particularly glad to receive poetry, prose,
and lyrics.
Original reviews (yours!) of published
works by Australian authors, poets, song
writers etc. are also encouraged.
Digital photographs are acceptable. The
higher the resolution the better.
Items which have been ‘lifted’ or
copied from other sources must be
acknowledged and permission for their
reproduction obtained were required.
Unless otherwise requested your
submitted items may (also) be reproduced
on our website or social media.
Submitting items is no guarantee of their
reproduction.
The Editor
reserves
the right to
exercise her
discretion.
Submissions
for our next
newsletter close
20 April 2014
If you have a piece of writing you would like to be considered for reproduction in our newsletter
or know of an event, competition, or information that may be of interest to Booranga’s members and friends
please email it to the editor, Debbie Angel, at [email protected]
Remember to keep in mind those literary journals that are open for submissions all year –
A good place to start researching the major Australian ones is at: www.litmags.com.au
(Booranga receives copies of the NSW based journal Southerly, and issues are available to borrow for Booranga Members)
WWWW and Booranga Writers’ Centre gratefully acknowledge the financial and other support received from:
March – April 2014
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10
2014
fourW twenty-five
An annual anthology produced by Wagga Wagga Writers Writers Inc. under the imprint of
fourW Press.
Now into its twenty fifth year, fourW is one of Australia’s longest running annual anthologies.
Guidelines for submission:







We welcome contributions of original poetry, fiction and graphics/artwork, not previously
published.
Short story word limit is 2500 words.
We ask that contributors restrict their submissions to 6 poems or 4 short stories.
Manuscripts should be typed/word-processed in Times New Roman, 12 point double-spaced on
A4 paper. Please submit an electronic copy only of your work.
We prefer electronic submissions to be forwarded in Word format on disk or by email. If your
work has specific formatting requirements we suggest it is submitted in PDF format.
Please include author biography details (2-3 lines) on your cover letter or separate sheet.
CLOSING DATE for fourW twenty-five is 30th June 2014. Submissions received after this date
will be held over to the following year.
A prize of $250.00 will be awarded to works selected as the best poem and best short story in the
anthology. The prize is generously sponsored by School of Humanities & Social Sciences in Charles Sturt
University’s Faculty of Arts.
All submissions will be read by our editorial committee during
July and all successful contributors contacted in
August/September for proofreading of their own work which
will appear in the anthology. All other contributors will be
advised of the outcome of the committee’s decision in
September. Launch of the anthology will be in November 2014.
No payment is made for publication – a free copy of the
published anthology will be forwarded to all successful
contributors.
All rights remain with the author.
Submissions should be emailed to:
[email protected]
Postal details are:
Wagga Wagga Writers Writers
Booranga Writers’ Centre
Charles Sturt University
Locked Bag 588
Wagga Wagga
New South Wales 2678
Australia
Please phone Booranga Writers’ Centre on (02) 6933 2688 or email us at [email protected] if you
require any further information.
Thank you for your interest in our publication.
Debbie Angel
Director
Booranga Writers’ Centre
Sandra Treble
Office Manager
Booranga Writers’ Centre
March – April 2014
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11
Wagga Wagga Writers Writers
Application
for 2013
Membership
Wagga
Wagga
Writers
Writers
Application for 2014 Membership
Wagga Wagga Writers Writers Inc. was formed in 1987 to assist and promote local authors and
their work. The group holds regular readings at local venues, conducts writing workshops,
offers writing fellowships at Booranga, the Riverina Writers’ Centre at Charles Sturt University
and publishes
an annual
anthology,
under
the to
imprint
fourW
press,
andauthors
is active
in
Wagga
Wagga Writers
Writers
Inc. wasfourW,
formed
in 1987
assist of
and
promote
local
and
promoting
writing
and
writers
throughout
the
Riverina.
their work. The group holds regular readings at local venues, conducts writing workshops,
offers writing fellowships at Booranga, the Riverina Writers’ Centre at Charles Sturt University
st December
Membership
1st January
to 31
2013:
and
publishesperiod
an annual
anthology,
fourW,
under the
imprint of fourW press, and is active in
promoting writing and writers throughout the Riverina.
Group membership (including one copy of anthology)
$55.00
st
st
Single
membership
(including
one
copy
of
anthology)
$36.00
Membership period 1 January to 31 December 2014:
Single membership (not including anthology)
$25.00
Concessional
membership
(including
one
of anthology)
$26.00
Group
membership
(including
one copy
ofcopy
anthology)
$55.00
Concessional
membership
(notone
including
$15.00
Single
membership
(including
copy ofanthology)
anthology)
$36.00
Student
membership
(under
21 years)
not including anthology
$11.00
Single
membership
(not
including
anthology)
$25.00
Concessional membership (including one copy of anthology)
$26.00
Membership also
entitles you
to: including anthology)
Concessional
membership
(not
$15.00
- Regular
newsletters
and
mailouts
Student
membership
(under
21e-list
years)
not including anthology
$11.00
- 10% discount at Collins Book Store, Wagga
- 10% discount
at Angus
& Robertson Bookworld, Wagga
Membership
also entitles
you to:
Membersnewsletters
discounts to
readings,
performances and workshops
- Regular
and
e-list mailouts
Invitations
to writing
events
and
get-togethers
- 10%
discount
at Collins
Book
Store,
Wagga
Access
to a network
of writers,
book enthusiasts
other writers’ centres
- 10%
discount
at Angus
& Robertson
Bookworld, and
Wagga
- Members discounts to readings, performances & workshops
- Invitations to writing events and get-togethers
- Access to a network of writers, book enthusiasts and other writers’ centres
-------------------------------------------------------------------------------------------------
Please fill out, detach and send application to:
 Wagga Wagga Writers Writers Inc., Booranga Writers’ Centre,
------------------------------------------------------------------------------------------------Charles
Sturt University,
Bag 588,
Please fill
out, detach
and sendLocked
application
to: Wagga Wagga NSW 2678
Phone/Fax
(02)
6933 2688
 Wagga
Wagga
Writers
Writers Inc., Booranga Writers’ Centre,
Charles Sturt University, Locked Bag 588, Wagga Wagga NSW 2678
Name: Phone/Fax
...............................................................................................................
(02) 6933 2688
Address:
Name:
...............................................................................................................
...............................................................................................................
...............................................................................................................
Address:
...............................................................................................................
Telephone: ..........................................(home) .................................................(work)
...............................................................................................................
..........................................(mobile) ...............…………………….........………...........(email)
Telephone: ..........................................(home) .................................................(work)
Enclosed:
$...................... cheque/money order for single/concession/student subscription (Please circle).
..........................................(mobile) ...............…………………….........………...........(email)
________________________________________________________________________________________________________
$...................... cheque/money order for single/concession/student subscription (Please circle).
TO PAY ELECTRONICALLY:
________________________________________________________________________________________________________
Bank:
NAB Wagga
BSB: 082 811
TO PAY ELECTRONICALLY:
Account Name: Wagga Wagga Writers Writers
Account Number: 02951 4435
Bank:
NAB Wagga
BSB: 082 811
__________________________________________________________________________________________________________
Account Name: Wagga Wagga Writers Writers
Account Number: 02951 4435
Enclosed:
__________________________________________________________________________________________________________
WWWW and Booranga Writers’ Centre gratefully acknowledge the financial and other support received from:
March – April 2014
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