Sydney 1936: there in the Cahill’s cafe, a strange male voice intruded, ‘Edith–Alva–haven’t seen you both for years.’ It was like the voice from a gramophone with a worn needle.
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Sydney 1936: there in the Cahill’s cafe, a strange male voice intruded, ‘Edith–Alva–haven’t seen you both for years.’ It was like the voice from a gramophone with a worn needle.
Sign in to Granta.com.
‘We meet at various points in the great swathes of the past that neither of us were alive to witness.’
Allen Bratton on a daytrip to a castle with his older boyfriend.
‘Listening to three white poets, whom I suspect are academics, talk about the state of poetry.’
Oluwaseun Olayiwola eavesdrops on an older generation.
‘I’d been dubious about his company at first.’
Sarah Moss on watching Shakespeare with her twelve-year-old son.
‘She didn’t trust us because, to her, tenants were like children.’
Kate Zambreno on negotiating with her older landlady.
‘A moment now swallowed in embarrassment, I asked a question only a young person might ask an older one.’
Lynne Tillman on trying to understand what makes a generation.
Frank Moorhouse was born in Nowra, New South Wales and currently lives in France, the setting of his novel Loose Living. War Work, an excerpt of his novel Dark Place, appeared in Granta 70.
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‘Rosella and her co-creators curate an archive of pain, of endurance, of love and belonging, of alienation and disconnection.’
Nicole R. Fleetwood introduces the photography of Raphaela Rosella.
‘It’s hard to find a spot where the colony hasn’t reached; the landscape is consistently interrupted.’
Dominic Guerrera introduces artwork by James Tylor.
Winner of the Commonwealth Writers Short Story Prize for the Pacific region.
‘The moments of relief in this awful year that will stick with me are roaming around at strange hours, walking in the middle of the road.’
‘The hard thing, as Alice saw it, was that something bad had happened to her and it was private and then it wasn’t.’
‘The natural world is full of records and erasures.’
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