Issue 25 | Mascara Literary Review

Mascara Literary Review

Issue 25

Art by Amani Haydar

Australian Government | Creative Australia

Poetry

Brenda Saunders

Amanda Lucas-Frith

Dani Netherclift

Featured Writer

On Scars and Flying Horses: Lara Norgaard in Conversation with Linda Christanty

Deborah Cass Prize

Fiction

Creative Non-fiction

The Meaning of Life and the Pandemic by Luke Fischer

Reviews/Essays

Dave Clark Reviews Case Notes by David Stavanger

Megan Cheong reviews Kokomo by Victoria Hannan

Katelin Farnsworth reviews Stone Sky, Gold Mountain by Mirandi Riwoe

Miriam Wei Wei Lo reviews Entries by Prithvi Varatharajan

Jennifer Mackenzie reviews Sreedhevi Iyer’s The Tiniest House of Time

Paul Scully reviews A Passing Bell: Ghazals for Tina by Paul Kane

Maks Sipowicz reviews Dry Milk by Huo Yan (trans. Duncan M. Campbell)

Kiran Bhat reviews Toward the End by Ali Alizadeh

Jackie Smith Reviews Turbulence by Thuy On

Abigail Fisher reviews Heide by π.O.

Adele Dumont reviews The Girls by Chloe Higgins

Caitlin Wilson reviews Thorn by Todd Turner

Hayley Scrivenor reviews Benevolence by Julie Janson

Gabriela Bourke reviews Archival Poetics by Natalie Harkin

Jeremy George reviews Where Only the Sky had Hung Before by Toby Fitch

Megan Cheong reviews Mother of Pearl by Angela Savage

Victoria Nugent reviews Blueberries by Ellena Savage

H.C. Gildfind reviews A Constant Hum by Alice Bishop

Emily Yu Zong reviews Everything Changes Ed. Xianlin Song and Nicolas Jose

Jean-Francois Vernay reviews The Pillars by Peter Polites

Amy Van Der Linden reviews We’ll Stand in that Place Ed. Michelle Cahill

Sophie Baggott reviews Rethinking the Victim by Anne Brewster and Sue Kossew

Jean-François Vernay reviews On Shirley Hazzard by Michelle de Kretser

“The new life”: Ella Jeffery on Beautiful Revolutionary by Laura Elizabeth Woollett

Gareth Morgan reviews Ashbery Mode Ed by Michael Farrell

Paul Giffard-Foret reviews My Van Gogh by Chandani Lokuge