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Collisions: Fictions Of The Future
This collection of short stories showcases some of the best work that Australian literature has to offer in this new decade. Featuring work from both emerging and established writers of colour, the stories in Collisions transcend genre and experiment with style. They are necessary reading for everybody with an interest in the future of fiction and our planet. Although many of these visions are dystopic, the quality of their writers is something the future has to look forward to.
What does the future hold? Collisions prods at what it means for each author, and while many will come to expect speculative fiction at surface level, the breadth of imagination transcends these boundaries. From an account of a tense dinner party amidst impending signs of climate catastrophe; to a playful fable about a father turning his family backyard into a graveyard; and an irreverent yet thoughtful tale of a gang of activists planning an attack on ASIO drones in a Kyle Sandilands government, these stories are experimental, genre-bending and lucid.
Collisions presents a diverse collection of work that have often been ignored or elided in a time where marginalised voices are still unheard. It exists to re-centre the voices of writers of colour and to encourage dynamic narratives, to bring about a more robust literary landscape in Australia's future. Contributors include- Claire G. Coleman, Elizabeth Flux, Bobuq Sayed, Bryant Apolonio, Mykaela Saunders, and more.
"Time and time again the beginning point to access minority writing is the deficit. The reader asks the minority writer of their authentic experiences, the reader asks how does this work appeal to their hegemonic gaze? What excites me about Collisions, is that the writers are centring themselves. Both emerging and more established writers are playing with form. And it excites me to read genre work that still speaks to the anxieties and pain of the subject position - whether that be first nations, diaspora, queer or gender diverse. The content in this publication represents a step forward for minority writing in the Australian literary landscape." Peter Polites
"For me and so many others, LIMINAL has beautifully and deftly showcased players in the Australian arts scene that are so often overlooked, but arguably constitute its beating heart. What a goddamn joy they're now doing the same for fiction." Ben Law
"Harmonious but discordant, language stretched and challenged. You are moved through spaces of tender familiarity and dissonances. Each writer brings their own rhythm, contained with the beautiful subtleties we look for in fiction. Woven through is a fabric of complex characters and yielding interpretations of the short story form. With each story being a container for separate heartbreaks and epiphanies." Jamie Marina Lau
"This is something of a first- voices from the other side of the racial imaginary coming to life with surprising insight, authenticity and innovation." Brian Castro
What does the future hold? Collisions prods at what it means for each author, and while many will come to expect speculative fiction at surface level, the breadth of imagination transcends these boundaries. From an account of a tense dinner party amidst impending signs of climate catastrophe; to a playful fable about a father turning his family backyard into a graveyard; and an irreverent yet thoughtful tale of a gang of activists planning an attack on ASIO drones in a Kyle Sandilands government, these stories are experimental, genre-bending and lucid.
Collisions presents a diverse collection of work that have often been ignored or elided in a time where marginalised voices are still unheard. It exists to re-centre the voices of writers of colour and to encourage dynamic narratives, to bring about a more robust literary landscape in Australia's future. Contributors include- Claire G. Coleman, Elizabeth Flux, Bobuq Sayed, Bryant Apolonio, Mykaela Saunders, and more.
"Time and time again the beginning point to access minority writing is the deficit. The reader asks the minority writer of their authentic experiences, the reader asks how does this work appeal to their hegemonic gaze? What excites me about Collisions, is that the writers are centring themselves. Both emerging and more established writers are playing with form. And it excites me to read genre work that still speaks to the anxieties and pain of the subject position - whether that be first nations, diaspora, queer or gender diverse. The content in this publication represents a step forward for minority writing in the Australian literary landscape." Peter Polites
"For me and so many others, LIMINAL has beautifully and deftly showcased players in the Australian arts scene that are so often overlooked, but arguably constitute its beating heart. What a goddamn joy they're now doing the same for fiction." Ben Law
"Harmonious but discordant, language stretched and challenged. You are moved through spaces of tender familiarity and dissonances. Each writer brings their own rhythm, contained with the beautiful subtleties we look for in fiction. Woven through is a fabric of complex characters and yielding interpretations of the short story form. With each story being a container for separate heartbreaks and epiphanies." Jamie Marina Lau
"This is something of a first- voices from the other side of the racial imaginary coming to life with surprising insight, authenticity and innovation." Brian Castro
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141 pages, Paperback
First published November 3, 2020
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Displaying 1 - 15 of 15 reviews
November 3, 2020
A brilliant, innovative collection of vibrant short stories that provide an alternative look at the future of Australia and Australian writing. Some stunning pieces - especially by Elizabeth Flux, Claire Cao and Eda Gunaydin - but the whole is more than the sum of its parts. Get onto it.
October 15, 2020
it is extremely good and i am extremely unbiased !
July 8, 2021
God there are so many amazing local writers among us. Lots of stories in this were like nothing I’ve ever read. Sometimes I was so shocked by a plot twist or a future that had been conjured that I wasn’t sure if I liked the story but, now upon reflection, I think that I actually liked them all very much(?)
May 1, 2021
I read this slowly, mostly because there were some stories I just didn't get. I don't think that this is a failing of the anthology, I think it is a limitation in the writing conventions that I'm familiar with, leaving me with no way in to those stories. As such, I won't be talking about those stories.
All of the editors get to have a say in the introductions. The main introduction, by McIntosh, is beautifully done. It gives a strong sense of the reasons for the anthology, as well as anchoring it in place and time with respect to the Australian literary scene. The others are both concise and interesting.
The anthology is grouped into three sections: Bodies, Momentum, and Contact. I didn't read it with these in mind, and have not really engaged with the groupings, so have ignored that in the notes below. Sadly, I appear to have lost the notes on the later two sections, so my comments on the earlier stories are more comprehensive.
The opening story, See You Tomorrow (Claire Cao) is an atmospheric story about the passing of time that weaves together the lives of two friends over the course of a lunch date. So many details that I loved, including the evocation of the changes in the local landscape, the possibilities of romance for older women, and the way I could nearly smell the food.
Bad Weather (Bryant Apolonio) also weaves together two stories, but uses a literary conceit-- presenting much of the stories concurrently down separate columns-- to highlight this. This was initially confusing but ultimately really powerful. Prose poetry is not something I really get, so I struggled.
Öz (Eda Günaydin*) is a tiny, slice-of-life but very bogan queer romance.
Auburn Heights (Naima Ibrahim) is a painful story of colonisation, although because it is set at the suburb level it has been given the euphemism "gentrification".
The Voyeur (Elizabeth Flux) is very creepy - our protagonist can visit the past of their ancestors, and loses themself in the process.
Suburban Graveyard (Victor Chrisnaa Sentinanthan) is another disturbing and creepy story, this time about the consequences of converting ones backyard to a graveyard.
Terranora (Mykaela Saunders) is an Indigenous viewpoint post-apocalyptic Australia. There are so many ideas packed in to this story, about family and community and country, survival, recovery, the inter-connectedness that is needed for survival.
The Revolution Will Be Pirated (Bobuq Sayed) focuses on an antifacist group attempting to avoid the police and white supremacists in order to disrupt a fascist march though an immigrant neighbourhood.
The final piece is Wish You Were (Claire Coleman), which is a chilling story of an unexpected life after death.
* Apologies to the author for the incorrect spelling, I can't work out how to get the correct characters out of my computer.
All of the editors get to have a say in the introductions. The main introduction, by McIntosh, is beautifully done. It gives a strong sense of the reasons for the anthology, as well as anchoring it in place and time with respect to the Australian literary scene. The others are both concise and interesting.
The anthology is grouped into three sections: Bodies, Momentum, and Contact. I didn't read it with these in mind, and have not really engaged with the groupings, so have ignored that in the notes below. Sadly, I appear to have lost the notes on the later two sections, so my comments on the earlier stories are more comprehensive.
The opening story, See You Tomorrow (Claire Cao) is an atmospheric story about the passing of time that weaves together the lives of two friends over the course of a lunch date. So many details that I loved, including the evocation of the changes in the local landscape, the possibilities of romance for older women, and the way I could nearly smell the food.
Bad Weather (Bryant Apolonio) also weaves together two stories, but uses a literary conceit-- presenting much of the stories concurrently down separate columns-- to highlight this. This was initially confusing but ultimately really powerful. Prose poetry is not something I really get, so I struggled.
Öz (Eda Günaydin*) is a tiny, slice-of-life but very bogan queer romance.
Auburn Heights (Naima Ibrahim) is a painful story of colonisation, although because it is set at the suburb level it has been given the euphemism "gentrification".
The Voyeur (Elizabeth Flux) is very creepy - our protagonist can visit the past of their ancestors, and loses themself in the process.
Suburban Graveyard (Victor Chrisnaa Sentinanthan) is another disturbing and creepy story, this time about the consequences of converting ones backyard to a graveyard.
Terranora (Mykaela Saunders) is an Indigenous viewpoint post-apocalyptic Australia. There are so many ideas packed in to this story, about family and community and country, survival, recovery, the inter-connectedness that is needed for survival.
The Revolution Will Be Pirated (Bobuq Sayed) focuses on an antifacist group attempting to avoid the police and white supremacists in order to disrupt a fascist march though an immigrant neighbourhood.
The final piece is Wish You Were (Claire Coleman), which is a chilling story of an unexpected life after death.
* Apologies to the author for the incorrect spelling, I can't work out how to get the correct characters out of my computer.
March 6, 2021
Leah Jing McIntosh is an incredible and talented human, editor and organiser. I’ve only seen her speak once, but I was enchanted and have loved watching Liminal grow. This collection of short stories is one step for expanding voices and does so with an incredible collection of Indigenous and Writers of Colour.
“We recognise that anthologies are tricky for what they leave out. We ourselves have been left out: our bodies, our thoughts, our visions . . . What good is it to fight for a seat at a table that shouldn’t exist in the first place?”(xiv-xv)
In the stories we are faced with levels of enchantment and hypnosis as characters undergo personal loss, speculate the future and ebb and flow in the spaces.
I was particularly taken with the stories like “Tongue”, “Voyeur” and “West of the Sun and Sea.” The authors Yu, Flux and Mako each present levels of eeriness in their stories in different ways. A debilitating second person, hypnotic language and descriptions.
“Refuge is a rare thing on the freeway’s long dividing line and you must take it where you find it” (27).
Each of the authors and editors should be proud of their pieces. I am grateful to have had the chance to read this and look forward to seeing these names continue to take so-called Australia on. Power to them all.
“We recognise that anthologies are tricky for what they leave out. We ourselves have been left out: our bodies, our thoughts, our visions . . . What good is it to fight for a seat at a table that shouldn’t exist in the first place?”(xiv-xv)
In the stories we are faced with levels of enchantment and hypnosis as characters undergo personal loss, speculate the future and ebb and flow in the spaces.
I was particularly taken with the stories like “Tongue”, “Voyeur” and “West of the Sun and Sea.” The authors Yu, Flux and Mako each present levels of eeriness in their stories in different ways. A debilitating second person, hypnotic language and descriptions.
“Refuge is a rare thing on the freeway’s long dividing line and you must take it where you find it” (27).
Each of the authors and editors should be proud of their pieces. I am grateful to have had the chance to read this and look forward to seeing these names continue to take so-called Australia on. Power to them all.
December 28, 2020
As with any anthology it’s hard to give an overall rating, but I would say the stories ranged from 3 stars to 5 stars. The last section of the book ‘Contact’ was by far my favourite, tracing stories of Australian futures that do no seem so distant, scary and disorientating in their execution.
May 17, 2021
Great collection to imagine how different the future could be. Elizabeth Flux’s story shone through though, she writes magical realism that I can get around.
July 5, 2023
Brilliant and important. This anthology was composed of stories longlisted for the 2019 Liminal Fiction Prize, open to only Indigenous writers and Writers of Colour — established as an alternative to long-running Australian literary prizes which, rising out of colonialism and exclusionary racial policies, have worked to keep non-white voices out of the nation’s imaginary. In the 64 years of the Miles Franklin Prize’s running, only five of the winners been non-white.
In the introduction, editor and founder of Liminal Leah Jing McIntosh masterfully makes the case for the Liminal Fiction Prize. “Of course, prizes are only one aspect of our flawed literary ecosystem […] Who decides what is worth funding, worth publishing, worth marketing, worth studying? […] And then, most pressingly: who feels they have the authority to write?”
“What good is it to fight for a seat at a table that shouldn’t exist in the first place?”
Some pieces were definitely stronger than others, but they were all a joy to read. Unapologetically centring non-white, diaspora, queer and gender diverse bodies, these often-overlooked perspectives are fresh while familiar, subtle while radical, and all very, very necessary.
In the introduction, editor and founder of Liminal Leah Jing McIntosh masterfully makes the case for the Liminal Fiction Prize. “Of course, prizes are only one aspect of our flawed literary ecosystem […] Who decides what is worth funding, worth publishing, worth marketing, worth studying? […] And then, most pressingly: who feels they have the authority to write?”
“What good is it to fight for a seat at a table that shouldn’t exist in the first place?”
Some pieces were definitely stronger than others, but they were all a joy to read. Unapologetically centring non-white, diaspora, queer and gender diverse bodies, these often-overlooked perspectives are fresh while familiar, subtle while radical, and all very, very necessary.
April 9, 2021
Some stand out stories, such as the last one by Claire Coleman, and some which didn't speak to me. An interesting and thought provoking collection of new Australian voices.
April 2, 2021
Collisions is an anthology of fiction from Liminal, an online magazine dedicated to giving a platform to Asian-Australian artists. The selections in this anthology were long-listed for the inaugural Liminal Fiction Prize, open to Australian Writers of Colour. As editor and Liminal founder Leah Jing McIntosh writes in an introduction, this is in response to the exclusion of Writers of Colour from Australia's literary scene. For example in its 63 years, the Miles Franklin Literary Award has been given to less than five Indigenous writers and Writers of Colour. Collisions, Jing McIntosh writes, is an attempt to "shift the Australian imaginary", to expand and challenge "who feels they have the authority to write". Like the anthology After Australia, this is about what Australia is and could be. Read more on my blog
February 18, 2021
A really exciting collection of short stories which were short listed from the 2019 Liminal Writing Competition. Decisive and powerful, some are reflective of the type of writers attracted to the competition and some address subjects which are not about being the outsider. The writing is crisp and often direct with no time lost or words wasted. Naima Ibrahim’s “Auburn Heights”, Sumudu Samarawickrama’s “Nectarine”, Kasumi Borczyk’s “Cheese Me Please” and CB Mako’s “West of the Sun and Sea” were my favourites but they were all engaging.
April 2, 2024
An overall strong collection, though some stories meandered in ways that were a bit difficult to follow. As a whole, I think it does a great job illustrating the breadth and dynamic range of Asian-Australian writing that's happening in recent years. Some standout stories for me in terms of voice, humor and insight included:
Tongue, Jessica Zhan Mei Yu
Cheese Me Please, Kasumi Borcyzk
The Revolution Will Be Pirated, Bobuq Sayed
Tongue, Jessica Zhan Mei Yu
Cheese Me Please, Kasumi Borcyzk
The Revolution Will Be Pirated, Bobuq Sayed
September 1, 2021
Fantastic fiction. Spectacular specular. Tongue, Terranora and west of the sun and sea are standouts.
September 7, 2022
I engaged a lot more with some than others.
January 18, 2021
The best collection of short stories I’ve read. Loved it.
Displaying 1 - 15 of 15 reviews