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Verandah Literary Journal
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Verandah 31 can be purchased for $25.
Verandah 30 can be purchased for $20.
Verandah 3 – 28 can be purchased for $2.
You can buy any 3 issues for $5
We are SOLD OUT of Verandah 1, 2, 3, 7, 15, 16 and 23.
Cover image: ‘Peony’ by Kellie Jane.
Unexpected and boundary-breaking. With new voices and fresh perspectives, Verandah 32 is a captivating and metamorphic journey of artistic and literary experimentation and diversity. This year’s journal showcases the voices and creative works of emerging writers and artists alongside established writer, Kevin Brophy. The prose, poetry and artwork unites to form a collection which provokes thought, challenges reader expectations and evokes an array of emotions.
Volume 32 physical copies are selling for $20.
Volume 32 eBook is selling for $7.99 AUD – Visit the link below.
Cover image: ‘Broken Bears’ by Joel Jeffery.
Three decades ago, Verandah was built on a love of art and literature. From foundations laid with little more than wide eyed enthusiasm, it has risen brick by brick into a well-known, if not haphazard fixture of the community. Poets, Painters and Philosophers from all over the world scribble and stroke their way along the bare walls. Soaking the carpet with colour, filling the bathtub with ink.
The house hasn’t always been here, and even though its owners are truly unreliable-only ever staying one year, it remains, doors open to all. It isn’t always clean or tidy, and when it storms the roof leaks. But there’s always someone home, waiting for a visitor, for a story, for you.
Volume 31 physical copies are selling for $25.
Volume 31 eBook is selling for $6.99 AUD – Visit the link below.
Cover image ‘The Local’ by Jimmy Mollison.
What does it mean for a literary journal, arrival at the thirtieth issue?
It could mean the journal has lasted too long. But the provisions for editorship of Verandah protect it. Every year, half a dozen new editors arrive, to learn new skills and give proof of their ability.
So: more than one mind at work; instead of one person’s taste prevailing. Next, the students are challenged by their appointment to showcase the highest standards in their field—perhaps as preface to editorial careers. Finally, they are competing with previous editing teams, not only for formatting and layout but for the freshness and merit of their choices.
[excerpt taken from Verandah 30 foreword written by Judith Rodriguez.]
Cover image ‘Floating Eyes’ by Stacey Williams.
Finalist in the GASA Printovation Awards.
This issue of Verandah marks twenty-eight years in its publishing history. To offer some perspective, the launch of our first edition was in the same year that John Farnham’s ‘Whispering Jack’ was released, and its synth drums sounded brand new. This collection of creative curios will surprise, delight and amaze those who stumble upon it, as so many of Verandah’s editions have done since we were first told ‘You’re the Voice’.
Without getting too sassy about it, we invite you to plumb our depths of poetry, art and fiction that this years editors have selected for your exploratory pleasure. While you ask yourself if a cross-platform anime baroque is ‘still art’?, reflect on the meaning of family one artist’s rusted picket fence suggesting a different (or perhaps similar?) counterpart to another’s exposure of domestic secrets.
We present this edition of Verandah as the newest addition to a long and proud publishing legacy, and invite you to enjoy this eclectic assembly, compiled from hundreds of submissions from around the world. As lovers of written and visual artistry, we hope that this collection speaks loudly of our care and passion for this addition to Verandah’s rich history.
Cover image ‘Beautiful Creatures’ by Gwen Mortimore.
Anthologies are made of the tough stuff. You need to be a plumber, connecting pathways and ideas so that words don’t run off everywhere. You need to have the eye of an embroiderer to see every stitch and tend to the art of connecting, You need to be full of what Paul Theroux’s Allie Fox describes as ‘three am gumption’. You need a love of language, consuming strands of words like they were home-made linguine. And you want great contributors.
Verandah 27 has all these elements. Inside are images of a blank but questioning Scrabble board, Stormtroopers interloping in the breakfast arena, a horse head in the bedroom in a way the Godfather had never foreseen. You want to take the time just to dip your feet in, then plunge, all the way to the end. There are so many delightful pieces of writing: Eddy Burger’s gorgeous, languid prose and Amy May Nunn’s childhood recollections in ‘I remember British Bulldogs’ are just to name two.
[excerpt taken from Verandah 27 foreword written by Alicia Sometimes.]
Cover image ‘Underwater Study’ by Jennifer Segrave.
Verandah has always been about exhibiting the diverse creative talent the writing and art communities have to offer. Prepare yourself for a spectacular voyage. Once you get stuck into Verandah Twenty-Six, you’ll be whisked away on a collection of dangerous and exhilarating adventures: out of a familiar backyard and to the wild seas, from the distant future, to a surreal world and even further beyond!
Cover image ‘Timeless’ by Megan Seymour.
Verandah’s 25th anniversary edition marries literature and art, celebrating longevity and inspired excellence. In this publication you will find yourself faced with an ill-advised encounter with a call-girl, a dalliance with the personification of Freudian concepts and view a family who lives in an oven. Traverse the poetics of relationships-gone-sour, only to stockpile. Shotguns, bullets, canned peaches, butter knives for the zombie apocalypse.
You will witness the meltdown of a stop-motion animator, only to become a stranger on the streets of Melbourne, greased by the exhaust fumes of idling cars. Immerse yourself in the colourful row-houses in the slums of San Francisco with old hippies and old dreamers, the foreign cinema, Bank of America.
Your landscape will upend as you are thrown into a psychedelic Laundromat with a blue mist spin cycle to ponder a cryptic language. You will be led to believe a futuristic view of an animalistic humanity and the unnerving giants of a Ron Mueck exhibition will leave you breathless. Betwixt an array of eye-pleasing art, the creative innovations of emerging writers will nourish the senses and provide doorways to imaginings and possibilities.
Cover image ‘Intersection’ by Sue Hanson.
It’s forty degrees and rising: sparse words stick on tongues, bikes drift with concentration’s slur, sweat-slick hands glide in sliding clasp, dehydration’s dulled eyes stare. And you stumble across a man’s twisted body soaking in a wet-red pool of a living end. It reminds you of the battery dogs, pierced with metal bolts and freaking-out with kinetic impulses, so you turn your attention to the giant rabbits, leaping by at God speed to the tune of a Mr Whippy ice-cream van.
Lurking in the prose of Verandah, is the repressed memory of your ‘First Date’, that disappointing ‘Dinner with Dad’, a vague image of geometric retinal imprints and zeros, plump and exhausted, recorded from astronomy lectures. Buckets catching the night? The poetics of glass? And what does that cockroach really represent? Uncanny is the word that comes to mind, when you thumb through the pages of the collective imagination of these writers and artists.
Meet the artist Tom Cho, author of Look Who’s Morphing, and see what makes our Verandah Literary Award winner tick. The world you live in is just a piece of the puzzle in a world without boundaries, so laugh out loud, scratch your head—befuddled—crawl through ‘The Paper Hallways’ of Deakin University’s literary journal, for the twenty-fourth time.
Cover image by Chameleon Print Design.
Embark on a process—that of enjoying the pieces in this edition of Verandah. You’re about to discover an entertaining and inspiring mix of works. All the big themes of Art are here—soap operas, zombies, communism, love and death. Welcome—and enjoy.