Issue Twenty Editorial, by Daniel Young and Stuart Barnes

Death Note

Tincture Journal has been running for five years now, and the December 2017 issue will be our twentieth, so it’s with very mixed feelings that we’re announcing that this issue will also be our last. Some of you may have seen this coming, since we quietly removed the ability to purchase subscriptions from the website a few months ago; some of you may be surprised we lasted this long (I know I am!); and some of you may be disappointed at seeing an Australian literary journal fade away into history.

On a personal note I’m pleased and proud of everything we’ve achieved in the past five years, but this begs the question: why end it? I wrote back in the beginning that I’d basically started Tincture Journal on a whim, with no idea of the quantity or quality of submissions we’d be able to attract, how many readers there would be for an Australian e-book literary journal, or how long it would last. I’m pleased to be able to say that Tincture Journal has surpassed my expectations on all levels. While it started as a whim, finishing it is not so easy, and it is still difficult to put it into words. Let me try.

Tincture Journal in its current form takes an immense personal toll: time, emotions, brain-space. Financially, over time, we’ve managed to keep things running and grow and maintain a healthy subscriber base without any external funding support. However, the reality of this is that it discounts the many hours of volunteer work from myself, our poetry editor Stuart Barnes, submissions readers Kirby Fenwick and Michelle McLaren, and our former proofreading and editorial assistant Jessica Hoadley. To be clear, we’ve all been very happy to do this work: it has been rewarding, joyful, and has given back to us immeasurably. I’ve had the opportunity of working with writers of all levels, all of whom I respect dearly, and I’ve had so many talented people trust me with their work. So while there are sacrifices, they come with rewards; but short of scaling back my day job, I didn’t feel like I had the time to continue for another five years.

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Issue Twenty Table of Contents

Our last hurrah! Available now from our website and all good e-book stores.

Cover photo: Leigh Backhouse, Untitled, 2011

  • Editorial, by Daniel Young and Stuart Barnes
  • Political Reflections: Part Four: Charlottesville, by Alexandra O’Sullivan
  • Moederland: Part Four: terra in/cognita, by Johannes Klabbers
  • On the Proper Disposal of Limbs, by Shastra Deo
  • John, by Tristan Foster
  • She Dreams of Leaving His Country—1963, by Jane Williams
  • Hijol Trees, by Laura McPhee-Browne
  • We Cannot Trust the Subtitles, by Carmen Leigh Keates
  • Chumi Falls Out, by Barry Lee Thompson
  • The Common Sense of Bats, by Paul Scully
  • Livin’ on a Prayer, by Yen-Rong Wong
  • Gone to Mexico, by Alice Allan
  • Alternative Rock, by Nigel Featherstone
  • Drive-reading Dorothy Porter’s ‘Foggy Windows’, by Luke Best
  • Decompression sickness and other ways to pass the time, by Aidan Tan
  • Fluted Bone, by Steve Toase
  • incomprehensia : an instruction sheet for post-verbal poetry, by Scott-Patrick Mitchell
  • Scientist versus Writer, by Maria Saba
  • colour différance, by Alison Flett
  • The Last Day of Spring, by Peter Ninnes
  • Catafalque Party, by Jennifer Compton
  • The Escalator, by John Potts
  • Barren, by Rachael Guy
  • The Magpie Game, by Wayne Marshall