Published in Overland Issue 215 Winter 2014 Culture / Writing Judges’ report for the Nakata Brophy Prize Peter Minter and Tony Birch The winning entry is Jessica Hart’s ‘Land Mountain’. Jessica is to be commended for two very strong poems, with ‘Nouveau’ also being highly rated by the judges. Both her poems were striking in their sophistication and elegant use of language. Second place went to Elijah Loutitt’s ‘Blackground’ for its great intertwining of language, imagery and political message. Third was awarded to Jared Field’s innovative ‘Time and other observations’. The judges were impressed by the overall quality of the poems, which demonstrated both passion and a broad use of genres. An impressive start to the Nakata Brophy Short Fiction and Poetry Prize for Young Indigenous Writers. Peter Minter Peter Minter is a leading Australian poet and writer on poetry and poetics, and Overland’s outgoing poetry editor. More by Peter Minter and Tony Birch Tony Birch Tony Birch is the author of Shadowboxing, Father’s Day, Blood, The Promise and Ghost River. He is currently research fellow in the Moondani Balluk Academic Centre at Victoria University. More by Peter Minter and Tony Birch Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places. If you like this piece, or support Overland’s work in general, please subscribe or donate. Related articles & Essays 4 First published in Overland Issue 228 3 June 202225 July 2022 Main Posts Myth–archetype–story–f[r]iction: Helen Garner’s How to End a Story Moya Costello The third volume of Helen Garner’s diaries, How To End a Story, is a reminder of how affecting books, or art and culture more widely, are. This is art, as Elizabeth Grosz writes via Gilles Deleuze, as an ‘enhancement or intensification of bodies’, an ‘elaboration of sensations.’ First published in Overland Issue 228 22 April 202229 August 2022 Main Posts Night Luxe: ‘vibe shifts’ and the nocturnal femme fatale Lauren Collee In reproducing some of the visual conventions of the noir genre, night luxe connects itself to a history of image-making that is enthusiastic about the way images can be manipulated, and about the way night-time resists visual clarity. Night luxe signals a shift not so much in ‘vibes’ but in the fact that the internet is now reflecting on its own practices of image-making and trying to think up narratives for them in real time.
