Harvest #1 and Voiceworks #73: Carnivale – Journal Review

A loud established journal and a studious newbie are both aesthetically pleasing and intellectually stimulating. Voiceworks #73 is themed Carnivale and even more-so than previous issues revels in quality quirk as well as showcasing the colourful talents and opinions of Australian youth.
In contrast to the oft blunt-ended pieces in Voiceworks, the first issue of Harvest celebrates length and fulfilling closures. Voiceworks is indeed carnivalesque – alive, daring, and with disturbing undertones reflecting a most non-apathetic youth. Harvest is a quieter affair, taking its time to indulge in interesting voices of fiction, non-fiction and poetry.

Voiceworks #73 Carnivale presents geekery and freakery. Suggestions of the Renaissance being inspired by Middle Age Carnival Celebrations (as explored by Mikhail Bakhtin) are introduced in Ryan Paine’s 2nd last editorial, and the anonymously authored edcommitorial relates notions of the carnival to the contemporary structures of the internet.

The sense of confusion and confrontation of a carnivalesque atmosphere is evident in the short story selections – mostly sparse efforts bordering on surrealism. There are always questions lingering at the edges of consciousness after a Voiceworks fiction experience. Why does the nameless protagonist visit the quiet waterhole where a snake curls on her stomach (Shift – Samira Lloyd)? Why is the boy compelled to buy a gift for his teacher, and why is she determined in her aloneness (Two for a Gift – Stella Rosa McDonald)?

Some stories are dream-like such as Eleven Rooms (Ramyana Reeves), and The Teal Girl by Phillip English. A nightmarish and again undefined story The End of It, by Chris Somerville, explores alienating confusion due to overwhelming cycles of loss, forgetting and replacement.
Prominent themes of consumerist comforts and integrations with technology are explored in The Turtle Nets, by Liam Pieper (the featured writer); a story of a well-intentioned and ultimately uncomfortable stay in India; and in The Addling Machine, by Andrew Kertesz, where an old man is comforted by and accepting of his reliance on machines.
Pop culture references get a look-in in the very humorous The Third Day by Bob (just Bob), where Bill Murray pops up as God right when the narrator is attempting to quit smoking.
My favourite fiction piece is a spec piece by Kane Gough called Buying Kewen Harolds. Einard Wulkowicz is at the farewell party of a man whose life he has ‘bought’. In this near-future scene, Wulkowicz, the ‘identity nomad’ searches for the perfect life and people who have proudly built one throw it all away for a new beginning. The ultimate choice, the ultimate consumer freedom. It is well written, interesting, and has a more satisfying ending than much of the work in this issue.

Poetry highlights include the warm sigh-inducing Idle Impatience (Janette Chen); the blackly visceral Consummate Love (Ainslee Meredith), which has the kind of word combinations that slip deliciously around on the tongue such as ‘scud mapless’, ‘bluely from a doctor’s wall’, and ‘her lips, Marlowe-black’; and others that are intimate with smells, sounds and physical spatialities (eg. the anticipation of being beneath the water in The Swell – Stella Rosa McDonald).

Nonfiction highlights include the fantastic new environmental column where Greg Foyster presents the contradictions of ‘green’ consumerism, and the food column where Gemma Considine gives an informative look on how far ingredients travel and why to grow and buy local. We meet a protestor and his Mental Health Assistant Dog who have been kicked off public transport in Mickie Skelton’s political column. He explores notions of inclusivity/exclusivity and writes in an engaging personalised style.

The art and illustrations suit the theme, going from whimsical to subversive, with the usual portrayal of social misfits – sometimes cutesy, goth-inspired, often technologically-bound, darkly imaginative and expressive with barely a trace of realism.

Harvest’s editorial sets out its aims to be a journal both attractive and intelligent, and of showcasing both fresh and established writers. It is indeed aesthetically pleasing, printed in soft tones on recycled paper, generous in wordspace.

Grabbing my attention first was an article by Timoth de Atholia and Dr David Rathbone entitled Art for Artless Times. The authors present to us Nietzschean philosophy in relation to environmental issues in our ‘time of decadence’. The article is a good introduction to Nietzsche in itself, describing clearly the concepts of Ubermensch, the Last Man and the Eternal Return, among others, and relating them to contemporary society and prominent issues. It is highly readable and was thoroughly enjoyed.

The fiction of Harvest has a haunting quality. One story has a surrealist bent while another is hard realism. In Isobel (Gauri Yardi), the artistic narrator deals with her lover turning into a tree. The lack of explanation alongside the vividity and imagination of the situation is well handled, and there is poignancy to the story. The narrator has to deal with change, face loss, and accept the inevitability of nature taking over.

Africa Was Children Crying (Ryan O’Neill) is a fantastic piece of fiction. The voice of Gilchrest on his African ‘holiday’ is very strong. His observations are all subtly tainted by his view of the Africans as others, and a belief in his own superiority. This causes a detrimental blindness which is at the heart of the story. The story is full of sharp sentences that sum up a visual aspect, a mood, and a character trait all in one go. It is beautifully crafted and quite seamless. I admittedly guessed the ending but the foreshadowing threw an ominous tone on the second half of the story which was very apt for the events that occur.

Two biographical nonfiction highlights are Jack Cassidy’s laugh-out-loud recollection of Christmas back home with his family in Canada (The Twelve Days of Christmas), and Meg Mundell’s Tumbleweed. Meg is writing a book on trucking culture, and this extract is a compelling snapshot of a depressingly lonely old truck driver and Meg’s careful handling of a difficult situation. I really look forward to reading her book. An article on Norman Mailer (Norman Mailer: Shadows of Greatness or Fading Spark? Anthony Levin) is very informative, although I did find it a tad dry and overlong in comparison to the other pieces. David Mayes column I could easily relate to (on inspiration and writing) but it wasn’t anything new.

Nick Powell’s poems; slow and dreamy memories; are worthily introduced for the poetry feature. Other poetry by Iain Britton and Andy Jackson is also quite slow and breathy, focused, and features some striking imagery.

The Voiceworks and Harvest experiences have their own character. Both are contained, even the carnivalesque chaos of Voiceworks. I must point out that despite the writers in Voiceworks being under 25, the readership should not be limited. In fact, countless pieces from Voiceworks appeared in last year’s Best Australian Stories, edited by Robert Drewe. It just so happens that the perspectives and imaginations of youth captured on the pages are fresh, timely, accurate and of a very high quality (if a bit blunt-ended at times). The columns are also worthwhile reading for audiences of any age. Harvest should find a wide audience for the quality writing within its pages – the biographical aspect would be particularly appealing to many audiences.

I look forward to Ryan Paine’s last issue of Voiceworks and the second Harvest in the months to come.
Get thee Voiceworks.
Get thee Harvest.

10 thoughts on “Harvest #1 and Voiceworks #73: Carnivale – Journal Review

  1. Can either of the two be found in the UK? They both sound great. Especially “by Kane Gough called Buying Kewen Harolds.” I would really like to read that. Thanks for the comments on my blog, they are very much appreciated.I have subscribed and i look forward to reading more of your posts. 🙂

  2. Hey Lance! Check out both their websites, there should be some way they’ll ship to the UK, but don’t know how costly it will be. I think I just tracked down Kane Gough on MySpace too, so if all else fails maybe we can get him to send you a copy 🙂 Well worth reading.No worries about the comments, I like the theme of your blog. I look forward to seeing how it develops. Perhaps you could look at reviewing some books that people write on Y Gen or Millenials (I think you’re the latter, it changes quicker now!) Or on consumerist issues, or society. That might be a way to round out your blog so it’s not just all opinion. But you don’t have to listen to me, we all have our own style!Thanks for subscribing!LM

  3. Great review! Except that my column does not get a mention. I suppose my articles have become a little dense and uninteresting of late. I really must get out more.-Matthew Lorenzon

  4. Hi Matthew!Thanks for reading my blog. I’m sorry you didn’t get a mention. I didn’t mention everything, obviously, but I have always enjoyed your column. The one in #72 on music ‘as an expenditure of energy without profit’ is wonderful, and of course the current one on the emerging artist. You are a highly intelligent writer and I envy your knowledge of music. I am a music lover but not a player of music. I always find the theory extremely interesting. :-)LM

  5. hi angela, i enjoyed reading this review (and the rest of your blog) very much. the expansive style of your reviewing is so stimulating– the sentences you use to describe and critique these journals are poetic themselves. i can’t stand the “this work is good/bad” tone of some reviewers, who reduce everything to quips and jibes. from ainslee.

  6. Thank you so much Ainslee. I’d like to think my skills as a reviewer are growing. And I do think that writing fiction helps to write more descriptive reviews. In the same way, writing non-fiction increases awareness of superflous elements when writing or redrafting my fiction 🙂 I appreciate you stopping by!

  7. Hey there Miss LiteraryMinded! I’ve decided that you’re my new favourite person!Thanks for the review! Buying Kewen Harolds is only the first story I’ve got published, but hopefully not the last. I’m very glad that someone appreciated it that wasn’t my Mum.Oh, and you probably got onto the wrong MySpace. I got locked out of my old profile due to a rather humourous set of circumstances, so don’t think that I’m a snob! You’d probably have more success with http://www.myspace.com/theninthduck.Thanks again! Kane.

  8. Hi Kane! I’m so glad Voiceworks published your story. I wasn’t lying when I said it was my favourite. I’ll go add you on MySpace :-)Good luck with your writing – hope to see more of it around soon!Angela

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