The Rot

by Evelyn Araluen

The Rot is a recalcitrant study of the decaying romances, expired hopes and abject injustices of the world. A liturgy for girlhood in the dying days of late-stage capitalism, these poems expose fraying nerves and tendons of a speaker refusing to avert their gaze from the death of Country, death on Country, and the bloody violence of settler colonies here and afar. Across sleepless nights, fractured alliances and self-destructive coping strategies, The Rot is what happens when poetry swallows more rage than it can console, quiet or ironise – this book demands you ready yourself for a better world.

Genres: Poetry, Australia

144 pages, Paperback

Expected publication February 4, 2026

About the author

Evelyn Araluen is a poet and teacher researching Indigenous literatures at the University of Sydney, where she is completing her PhD. She coordinates Black Rhymes Aboriginal Poetry Nights in Redfern and is a founding member of Students Support Aboriginal Communities, a grassroots organisation based in Sydney. Born and raised in Dharug country, she is a descendant of the Bundjalung nation.

Reviews

[amelie mcintosh · Rating 5 out of 5]

Dropbear is the poetry collection of a generation so truthfully I knew this wouldn’t touch the reverence that holds for me but by fucking god no so-called ‘australian’ author is touching Evelyn Araluen. ‘Most of life is making love work, clearing space on the counter, folding back the things we’ve learnt to endure.’ So ridiculously beautiful it made me ache

[Indie · Rating 4 out of 5]

oh she's in her poetry era now

[Mon Thomas · Rating 5 out of 5]

If I could inject a book into my veins, it would be this.

The prose is achingly beautiful, grabs you, and holds you for the duration of this. The various forms used to express the themes in this book–ahh. I absolutely could not get enough of this.
5

[elbow ☆ · Rating 5 out of 5]

5 stars
The best minds of our generation are / sourcing rent from mutual aid, are / inhaling mould knowing there / will be no old age to pay it back.
it's been a few years now since i read dropbear, and was fortunate enough to run into and chat with evelyn araluen the day after i finished it. since then, a lot has changed in my life, and in hers. i've graduated high school, been devastated and elated by political shifts in australia, and watched the rest of our world descend further into fascism. the latter two are true of araluen too, and this poetry collection draws on her experiences post-october 2023. the rage and hurt that we've all experienced since then are palpable in her writing.

standouts in the collection for me included Real Estate, Upfield Line, Girl Work!, (iii) 256GB OF SALVAGED MEMORY, WHAT YOU CAN DO WITH YOUR HANDS, Losing Dogs, and Glory Be The Girlypop. i think i really resonated with the poems that commented on feminism and capitalism and the way they intersect. reading this also made me really excited to reread dropbear.

i'll end my review with a quote from one of my favourite poems, which happens to mention a really frustrating occurrence on my local train line: Upfield Line service dead zones contracted by Merri-bek Labor hacks to intercept your screen time .

[Kelly · Rating 4 out of 5]

Evelyn Araluen is a powerhouse poet and this collection expresses rage and despair with clarity and sharpness. The final section in particular was excellent. The absolute hands down best poem title I’ve ever read is “I’m summoning Sofia Tolstoy from the bath with a spell I bought off Etsy”. The final poem “I will love” made me cry. I didn’t connect as much with this collection as I did with her previous one, Drop Bear, but this was a solid collection that I am glad to have read.

[Lia Perkins · Rating 5 out of 5]

Magnificent

[Sandra · Rating 5 out of 5]

so so good.

also loved the mitski references.

[ValTheBookEater]

genius. I like everyone else loved Dropbear and dare I say The Rot is even more outstanding (personally speaking it really connected with me at this point in time). I especially loved the censoring of words like “men”. I loved all of it basically. I hope to be able to write half as well as this. But also I really appreciated how such lyricism and meaning can be drawn out from a sense of despair and questioning of everything around you, whether that be state violence, colonial violence, person-on-person violence or self-inflicted violence.

It felt both autobiographical but also like the narrator was a protagonist with a Shakespearean-like (thank you The Conversation review) characterisation navigating being a “girlypop” in a world left contending with ongoing colonial structures (you will see what I mean when you read this because its excellent).

This line, among many others, shall stay with me: “until love kills you you will love”.

READ IT ASAP!!

[chloe · Rating 5 out of 5]

i knew this collection would be incredible the moment i got to hear evelyn read out a couple poems at a keynote address a couple weeks ago. there is such an urgency to every poem in this book. poetry like this reminds me what the form is for; it is an act of resistance above all else when we are living in times like these. “most of life is making love work, clearing space on the counter, folding back the things we’ve learnt to endure.”

[Courtney · Rating 5 out of 5]

This was a library borrow but the minute I see it in a bookstore, it will be a purchase. It was that fucking good. I had to have breaks between reading with how raw and the truly skewering nature in which Araluen weaved her words. Stunning. Outstanding. Visceral.

[Chanel Chapters]

DNF

[Jayden]

Unrated due to aimlessness of self. That is to say: confusion.

I had been introduced to Araluen's work through her 2021 collection "Dropbear" earlier this year, which I thought was great and that same sentiment still goes into her newest collection "The Rot", but there is a truly great difference between my experience with both. While I could project myself out of my body, eliminate the self to understand the other with Dropbear, I cannot do that with "The Rot." Part of me wishes I could say I did not know why, but that is untrue. The reason is listed in the acknowledgements:

"In most ways this is a book for girls"

And I am just not that nor can do what I did with Dropbear. I am also just far too aimless to give what I would call a good review, I do not feel confident in my understanding of the text. I can tell the more salient -- "Billionaire Liturgy" for example -- but any fool may do that.

That being said, I am not enough of an idiot to say this isn't good. This is good poetry, I believe, and at times pulled on my emotional cords. "Losing Dogs" and "Glory Be the Girly Pop" were large highlights for me. A lot of the Poetry and Essays (or Prose Poetry, I struggle to tell the difference but I believe there are essays in there) are fantastic and well done.

Araluen is a good poet, just not for things I can really understand, and that fine. I would give it a high four if I thought I had a better grasp.

[Ali · Rating 5 out of 5]

"Say it now, but never then. This was always meant to hurt."

Araluen has for me, always been a writer who channels her passions through razor-sharp analysis. Her poetry, Dropbear in particular, deconstructs ideas with precision, flipping narratives around so you see what she sees, feeding the brain and the hear. And while I understand the adulation for Rot - Araluen is simply an outstanding poet and this is often breathtaking - it felt like a volume, at times, with various modes. While the analytical, clever Araluen is still here, especially in the laugh out loud then wince "“I’m summoning Sofia Tolstoy from the bath with a spell I bought off Etsy”, this collection also shifts into a rawer, more emotional space. This isn't bad - Blood wash, for example, is extraordinary, I don't think I breathed until I finished. It often feels intrusively personal, a strange thing to say about poetry, as Araluen's rage slices at the authorial voice as well as the world. I know of no girls who don't do this, so it fits with the theme. The best way I can put this however, is that it feels at times that there is slightly more here than the author can wrangle - and the author can wrangle a lot.
Perhaps I realise, as I struggle to write this, the collection bothered me less because of any issue with it, and more because it acknowledges that the last few years have been more than any of us can bear. But I'm glad we have Araluen along to help us make sense of it.

[G Batts · Rating 3 out of 5]

Evelyn Araluen is incredibly online. I know this not just because of all the poems in this collection about how much time she spends doomscrolling but also because this work feels incredibly rooted in the online discourse of 2024. Thus, the collection shows the inefficacy of published poetry as a platform because being published in late 2025 many of the poems already feel dated. It’s a shame because Araluen clearly has technical chops and there’s some genuinely moving parts. I wish she had taken a bit more time in writing this and let the poems stew more, and especially to become less literal. Unfortunately there are certain universalities to current forms of colonial/capitalistic oppression and I think the book could have felt more timeless and had something original to say if she expanded the example set beyond the devastation in Gaza.

Also, calling the book The Rot bothered me. Maybe it’s just the way my brain works but I feel there is something inherently moist about rotting. But the imagery in this collection is quite dry. Except for the poems in her bathroom. So the emphasis becomes about her mouldy rental (mouldy rentals being a favoured topic in The Guardian in 2024). Well, I don’t know who needs to hear this but owner-occupiers have mould too, it’s related to build quality not tenancy. We buy dehumidifiers and move on with our lives.

[Cozmo · Rating 3 out of 5]

Rating: [C+]

The first section of poems/writing was the best part for me. It emanates angst, frustration, and captures the over-stimulation of living in our world through visceral language and a bombardment of nonsense terms that have become common place. The emergent qualities of this writing made me take a step back anew to feel evermore confused and frustrated with the state, inequalities and evils of our world.

I didn't find the rest of the book to be anywhere near as impactful, and unfortunately quite disengaging. The middle--and largest--chunk of the book felt too much like draft notes. This was likely intentional, but this in combination with the reliance on referenced material that I haven't read, didn't resonate with me.

Ultimately, part of the problem is that I very much am not the target audience for these writings and Evelyn says as much at the end of the book. While I don't identify at all with my whiteness or my assigned gender, it is still largely how I present myself and move through the world. As she states: this is a book for girls who share similar experiences to what is written, to make them feel seen and heard. As reviews show, this really resonated with others on a deep level, but outside of the first section, it didn't for me.

[Natalia Figueroa Barroso · Rating 5 out of 5]

The Rot by Evelyn Araluen is an autobiographical, fictional poetry collection written in a desperate search for hope and healing—through a screen, a video essay to work, a livestream from Gaza to witness, a text-message archive to write. Its perspective shifts restlessly from first to second to third person, with flashes of a collective we/us that binds reader and narrator together, the way screens have become appendages to our bodies.

More than half of the poems address the reader directly. In “Billionaire Liturgy,” Araluen snaps us awake:

how far will you fly to/ forget a billion souls?
how far do you/ have to be from the gun and the/ knife
before the recoil won’t shudder/ in your hand?

In “Realestate,” we becomes both personal and collective:

These are things we can’t talk about/
with the windows open. Fuck the/
email candour, you’d better hope this one/
finds you before I do.

“Night Cries” shifts to first person through a text message that “You” sends to her father:

all I can think/ of is Palestine.
His answer: it’s a fucked world, but we’re standing/
against it.

The voice carries a rotting rage that could only come from an Indigenous, intersectional, decolonial feminist in academia—someone who sees and feels climate collapse, genocide, the gaps, intergenerational trauma, bigotry, and the suppurating wounds of a White-supremacist, plutocratic world.

A brutal, necessary book.

Recommended reading.

Mi gente—get your hands on it.

[Alyce Caswell · Rating 5 out of 5]

Araluen returns with her signature mixture of rhythm and academic influences, something I really quite enjoy (perhaps because I used to scribble something similar during my Sociology lectures...). This is a collection of poems by an angry woman for angry women. Araluen gives words to feelings I cannot seem to vocalise about the world right now.

[Kat · Rating 5 out of 5]

I want to write a longer review for this but the short story is, this is 🔥🔥🔥🔥. Moments of Neruda and Paz emerge alongside a completely original voice. I've read Dropbear and Araluen's prose, and this is her best yet. Going to win all the awards next year, you mark my words.

[Farrells Bookshop · Rating 4 out of 5]

Another wonderful poetry collection by Evelyn. Each one a gut punch in the best way. She just keeps getting better.

Read by Mahli

[Shastra Deo · Rating 5 out of 5]

Fellas it's really good

[Ceyrone · Rating 5 out of 5]

If I can give this more stars, 10 stars I would.

[Ciara O'Callaghan · Rating 5 out of 5]

Never has a poetry book made me cry so many times

[DonutKnow · Rating 4 out of 5]

Most times I didn’t quite get the references, but there were moments when I felt that the author captured my feelings of loss, sadness and anger 💔