Katherine E. Seppings

Art, Photography, Writing

Opinion Article in The Big Smoke

The removal of Palestine by Google Maps

Katherine Seppings

1018316866-640x360Read here: https://thebigsmoke.com.au/2018/11/29/removal-palestine-google-maps/

I am really pleased to have been invited to write this opinion piece for The Big Smoke on why Palestine is not on Google Maps and the journey that Palestine has been forced to make into non-existence by Israel’s existence. (Published 29 Nov 2018)

Very informative history and for me an introduction into the part played by map makers and services like Google Maps with their biases, making them complicit in political struggles for borders and land, and erasing nations like Palestine from their maps – and all that implies. Great article and much to think about.’ Di Dell

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The Illustrator Book Launch

A successful launch of The Illustrator by Jill Barclay at the Maurocco Bar, Castlemaine.
The Illustrator, which I edited, designed and published with Sevenpens, is available for purchase from https://jillbarclaybooks.

The Illustrator is based on Jill Barclay’s real grandmother, a woman who just disappears. All her life Eileen is sure of one thing – her love of drawing and the desire to be a commercial artist. In the 1920s, Eileen’s talents are well recognised in the Goulburn Valley where she is a farmer’s daughter, but this is a place and time when women can only be wives, mothers and homemakers. A woman choosing a career over her husband and baby is unheard of.

‘Written with an acute eye for the period and a sympathy for the distressing choices a woman might be forced to make The Illustrator offers an alternative history for being female and not ordinary in the first half of last century.’   Helen Elliott

Time and place are brilliantly evoked in Jill Barclay’sThe Illustrator, which opens in rural Victoria and moves on to Melbourne, Sydney and Auckland. The novel traces the unpredictable life journey of a young woman who resists conventional expectations. Deftly shaped and written with imaginative power, this haunting novel confronts us with the mystery of a self-driven personality.’   Brenda Niall

Jill Barclay’s The Illustrator demonstrates such richness of imagination, the writing is evocative and full of charm, and the story crackles with unforgettable moments – I was immediately transported.’    Louise Swinn

The Illustrator could well reflect Miles Franklin’s character Sybylla Melvyn who turns her back on an offer of a marriage in order to travel and write.‘ Dianne Demspey

 

Sevenpens Publishing

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Sevenpens is the name of a publishing service I have created for authors submitting manuscripts to traditional publishers or choosing to self-publish books.

If you’ve written a novel, memoir, poetry collection, or work of non-fiction and want to get it published, Sevenpens Publishing services offers authors advice on how to submit a manuscript, making sure your work is in the best possible shape before you take it to agents or publishers, and can assist in any or all of the steps required to self-publish your book to the same high standards as a major publishing company.

Since the 1970s, I have worked in publishing and promotions as an illustrator, designer, photographer, writer, editor, and distributor, in Australia, London and New York. I understand the time and effort writers put into their work and have all the skills and experience to bring out the best in your book, in today’s global market.

Check out Sevenpens website here.

Arts Open 2018

Me and my exhibition at Arts Open, Old Castlemaine Gaol. Photo by Calum McClure

More than 100 artists of Castlemaine and district are exhibiting their work and opening their studios. My photographs can be seen at the Old Castlemaine Gaol.
Labour Day weekend 10-12 March and 17-18 March 2016.

‘Love & Death in Castlemaine’ Now Available

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I launched my new collection of poems, Love and Death in Castlemaine published by Mark Time Books during the inaugural Castlemaine Poetry Festival in October.

Sue King-Smith, who edited the collection, describes the book as heartfelt and intimate, dealing with the big themes – love, death and place.

‘These poems are embedded in place, culture, history and the natural environment of Castlemaine (and surrounds). Katherine’s poems span many decades and are about community and the cyclic nature of relationships and life. They are a distilling of Relational Geography – mapping the way in which people relate and connect in a particular place.

The collection is both a celebration and a eulogy. The first poem, ‘The Road to Castlemaine’, invites us to the region. In ‘The Sounds of Chewton’, we hear the Wattle Gully mine siren for lunch and old Tex playing piano in the Red Hill Hotel. In ‘Forest Creek Goldfields’ stability is illusionary; life is riddled with mineshafts. In ‘Collecting Jaara History’, silences surround the Aboriginal heritage of Castlemaine.

There is a poem about lovers swimming in the Golden Point Res under the stars. A train carriage in the Chewton bush is described – “a vase of freshly cut wattle/food fresh from the market, an old stove fire, the smell of your rain washed hair/only candlelight.”

There are poems about relationships breaking down. In ‘The Pine Forest’, the felling of trees between the houses of the two lovers becomes a symbol of their relationship. And there are stories of people passing away. In ‘Attempt’ the protagonist is asked to hang on to the new life born of rain, after the drought.’

The chapbook is available for purchase from https://katherineseppings.com/purchase/

‘Love & Death in Castlemaine’ Launch Photos

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Katherine E Seppings with her latest poetry collection Love & Death in Castlemaine.

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The launch of Love & Death in Castlemaine at the Maurocco Bar, Castlemaine.

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Sue King-Smith (right), editor of Love & Death in Castlemaine, launched the chapbook, published by Mark Time Books.

More Melbourne Poetry Gigs 2016

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I was a feature poet at Mother Tongue, Brunswick, October 14, and here I’m with Fleassy Malay (performance poet and Mother Tongue host) and Manal Younus, from Adelaide, the other feature poet on the night.
Mother Tongue is one of Melbourne’s most established Spoken Word and Performance Poetry Nights held each month as a ‘space for all to gather to hear women speak. Honest. Powerful. Vulnerable. Passionate. These evenings are deeply inspiring, moving and empowering spaces for us to share our stories.’

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Reading my poems and stories at Mother Tongue, Brunswick, Oct 14.

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On September 28, I read at MPU Celebrates! at the Docklands Library, with poets Bronwyn Blaiklock, Debi Hamilton, Fee Sievers, Alana Kelsall, and Robyn Peck, all celebrating our recent Melbourne Poets Union chapbooks and Debi’s MPU Poetry Competition win.

Love & Death in Castlemaine – Poetry Book Launch

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Love and Death in Castlemaine
is a collection of my poems about my life in and around Castlemaine since the early 1980s, in a tribute to the goldfields and to those I have loved, and lost.
Sue King-Smith, poet, writer, and previous chief editor at Melbourne Poets Union,
will launch my chapbook – during the inaugural Castlemaine Poetry Festival.
The event is also a celebration of Mark Time Books, the publisher of the chapbook series, and there will be readings from central Victorian Mark Time poets – Ross Donlon, Tru S Dowling, Sue Gillett, Ann de Hugard, Rob Wallis, and Sue King-Smith.

Melbourne Poetry Gigs 2016

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Katherine E Seppings – Dan Poets Featured Poet –
Dan O’Connell Hotel, Melbourne, 12 March

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Open Mic – MPU Reading with Maxine Beneba Clarke and Steve Smart,
Wheeler Centre, Melbourne, 26 Feb

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Featured Poets – Katherine E Seppings, Steve Smart, Benjamin Solah, James Curtain and Maya – Tago Mago Club, Thornbury, Melbourne, 16 June

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Open Mic – Girls on Key – Open Studio, Northcote, Melbourne, 6 July

 

Mary Cresswell’s review of ‘When Embers Dance’ – Plumwood Mountain journal

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‘Poetry of witness can come from other than battlefield trenches, blood and bombs. Katherine Seppings’ chapbook begins with horrific climate, both a heatwave and a firestorm … The poems move on, taking in more of the animal world (sheep in “Animal Liberation”, 8-9) and geographical space (“Avebury”, 11).
“Seville” brings people back into the equation (the kindness of strangers, when “All I could say was ‘gracias’”, 12) , followed by “Boat People” (“Who would come in a boat to these shores / girt by shark nets?”, 13).
By these two poems, presented one after the other, we are reminded that poetry of witness is a poetry of tension and of intolerable contrasts, not only wet versus dry but also what we pretend versus what we do:’
Read more – https://plumwoodmountain.com/mary-cresswell-reviews-when-embers-dance-by-katherine-seppings/