Visible Ink 25: On the ledge of the world is available now!
Discover new and emerging voices from all over Australia, bringing you new stories, new poetry, new photography and new illustration.
To become the proud owner of the latest edition of Visible Ink simply follow these 3 steps:
1. Email us at firstname.lastname@example.org
Let us know which edition/s you’re after and we’ll let you know if it’s available.
2. Make the payment by direct transfer
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Bank: Commonwealth Bank
Account name: RMIT Visible Ink
Account No: 1057 4993
Current issue is $20 (+ $2 postage)
All back issues are $10 each (+ $2 postage)
Back issue special: Two back issues for $15 (+ $4 postage); or three for $20 (+ $6 postage)
Sorry, no discounts for multiple postages.
3. Wait for our confirmation email
Then rush out to your letter box to see if it’s there (you might want to wait a few days for the letter box bit).
We also have a range of titles from our rich 24 year history to offer you. Have a look and if anything inspires, add to your order in the message box (and the price in the payment box).
The oldest of our archived collection, this edition of visible ink was published in 1993. Highlights include an ode to Doris Day by Judy Horacek, the acclaimed cartoonist, artist and author of children’s books. This edition is notable for the complete absence of capital letters in the foreword and contents . . . a classic sign of the times and the start of a long lasting tradition!
The Front, 1994
In 1994, the editorial team acknowledged the support of Melbourne’s iconic comedy venue, the Prince Patrick Hotel in Collingwood. Highlights of the anthology include a piece by poet and musician Sean Whelan. This time a few capital letters had made their way to the start of each title, but contributors’ names remained defiantly lower-case.
Browsing the contents of this edition of visible ink, the name that stands out is award-winning author M.J. Hyland, who contributed a short story. On the committee, and also a contributor was Eric Dando, who has since published two books and Adam Carey, now a journalist with The Age. For the first (and perhaps last) time, author photos were included. Capital letters had begun to make their way back into the titles.
The Words Have Eyes, 1998
In a large square format, this edition of visible ink had a record 66 entries and comprised 200 pages. Custom illustrations accompanied many of the pieces. One of the many contributors was Myfanwy Jones who went on to publish the novel The Rainy Season and the best-selling Parlour Games for Modern Families. In 1997, the committee chose to spend time at The Lounge in Swanston St.
This edition of visible ink should be prescribed reading for all PWE students. On the committee were Zoë Dattner and Louise Swinn, who went on to found Sleepers Publishing. Both contribute stories and poems, and Dattner designed the cover. By this year, the committee had swapped its allegiance to The Empress in North Fitzroy.
For the first time, visible ink opened its doors to contributors outside the PWE course. 1999 also heralded the launch of VI’s first website and, in a year of firsts, the committee also held a writing competition. Highlights of this edition include stories by Louise Swinn of Sleepers Publishing, Carrie Tiffany, who went on to pick up a stack of awards for Everyman’s Rules for Scientific Living and Jeff Sparrow, co-author of Radical Melbourne: A Secret History. This year the committee favoured Brunswick Street’s Perseverance Hotel.
To celebrate the new millennium, Visible Ink published its first film script in this sleek, matte black edition. Contributors include Rose Mulready, since published in several anthologies of Australian short stories, George Dunford who is now a freelance writer and producer working for the ABC and Lonely Planet, and Prudence Flint, an award-winning visual. As the title shows, those pesky capital letters were still unsure of their correct place. The committee were now drinking at Carlton’s Lincoln Hotel.
Contemporary Soul, 2005
Notable not only for the stunning yolk-yellow dustjacket, this volume of Visible Ink includes pieces by PWE lecturer Sian Prior and the Victorian Writers’ Centre’s Anna Kelsey-Sugg. The committee divided its custom between two Fitzroy bars, Laundry and Bar Open, and again misplaced all capital letters when it came to naming this volume.
Tattle Tales, 2006
Highlights of this edition of visible ink are the foreword by Kate Holden, and the piece about the sheer glee invoked by getting down and dirty and writing nasty tales and stories by award-winning writer Chris Womersley. But for PWE students, this is the must-read landmark volume that brought together Julia Carlomango, Rachael Howlett and Davina Bell, who went on to found Harvest. Upper case letters in story titles again remained elusive.
In the unusually titled 1908, contributors include Jenny Sinclair, author of When We Think About Melbourne: The Imagination of a City and Jason Cotter, editor of Readings and Writings: Forty Years in Books. This year the committee made no mention in their acknowledgements of a favourite watering hole, but did thank suppliers of chocolate. How times change . . .
A small, hardcore team of four produced visible ink in 2009. Committee member Anthony Noack went on to have two plays produced in the 2011 Melbourne International Comedy Festival. As well as featuring work by Melbourne poet Michael Crane, this edition includes beautifully reproduced colour artworks.
Featuring the best of Australia’s up and coming writers and poets, it is a great addition to the bookshelves of anyone interested in getting a sneak preview of our future award winners and bestselling authors.
If you only buy one publication from the visible ink backlog, this should be it. Published in 2009 to celebrate 21 years of the Visible Ink anthologies, this volume includes the best writing from the entire series, along with a foreword by Steve Grimwade, director of the Melbourne Writers Festival.
There is life in this book; it may bear a resemblance to your own!! Featuring prose, poetry and art from some of Australia’s best up-and-coming talent (and a few deft hands for good measure), Fleshy husks and brittle bones is an exploration of the human condition. Loved ones are lost, politics is subverted and putting the bins out at night becomes a matter of the boldest philosophical examination since Toy Story. Get on it.
All back issues are $10 each (+ $4 postage)
Back issue special: Two back issues for $15 (+ $6 postage); or three for $20 (+ $8 postage)
Sorry, no discounts for multiple postages.