Earth Hour by David Malouf:

Notes on the poems

Jennifer Fletcher, St. Charbel’s College
A critical study of literature allows individuals to more fully own a text and inhabit its world, and a critical study
of the Maloufian worldview through the poems in Earth Hour can result in enlightenment, leading humanity to
realise its unity with nature and its unique environmental responsibility at the top of the food chain. David Malouf
is an Australian award winning, multi-hyphenate composer whose soul is arguably that of a pure poet, whose
‘ideas and values are fundamentally poetic’ according to critic Dennis Haskell. In his didactic and lyrical 2014
poetry collection, Earth Hour, Malouf explores the unity of all living things on our eco-threatened planet and
implores us to recognise this connectedness in the interest of survival.

As an older man—80 at the time of writing these poems—
he leaves this volume as his legacy and plea to future
generations. The suite of poems chosen from the wider
text exhibits textual integrity as its circular structure—
bookended by ‘Aquarius’ and its echo ‘Aquarius II’—
conveys Malouf ’s essential themes: the duality and
multidimensionality of humankind, and the inner stillness
that comes from meditating on the quotidian, making it
transcendent. Ultimately, the suite of poems presents a
hopeful image of mankind’s place as stewards of the earth.
more to darkness/than nightfall
caught reversed in a mirror’s lens.
Here begins Malouf ’s theme of the duality of man—that
multidimensionality peculiar to humans where body and
soul are co-existent yet separate entities, governed by our
imagination which allows us to time travel to the past and
envision the future while rooted in one concrete moment
of space and time. When that something in us ‘snaps’, we
get a flash of our primordial selves, and the Eden from
which we were expelled through sin.

‘Aquarius’ In connecting man so profoundly with his environment

The initial poem in the suite prescribed for study is aptly
named, as the word connotes not only the start of the
astrological year through the constellation it represents,
but also the dawn of a new age of awareness and peace
for humankind. This philosophical and didactic poem
teaches us how to read the rest of the poems in the suite,
as we can find most of Malouf ’s signature themes and
techniques within.
The poem begins with a sense of optimism we gain from
a sunny day at the beach with beautiful and seemingly
endless oceans in the repetitive imagery, ‘blue upon blue’.
The first half of the poem is comprised of short syntax
with enjambment across lines, which might represent
the clarity of daytime, of rationality, of clear physicality
and the tangible world, while the second half of the
poem is one long, complex sentence. The complexity and
density of the second sentence can be seen to represent
the confusion of the ‘counterworld’ Malouf calls to our
attention--the confusion evident at night, in our dream
state, in the inability to know our spirits fully. Through
enjoying this initial ‘sovereign day’, we are almost fooled
into believing that we, while not regal yet somehow like
the sun, are ‘immortal’. However, Malouf is quick to dispel
this notion with the contrasting juxtaposition of ‘dark’
in line 2. Joy is further proven ephemeral, as evidenced
by the enjambment from lines 7 to 8, and the tonal shift
signaled by the caesura in line 8
in the first poem, Malouf conflates our existence with
that of our planet and its other less sentient inhabitants,
‘loved animal forms’, which seems obvious if it weren’t
expressed with such elegance and beauty. The use of the
paradoxical, Biblically allusive phrase ‘anti-Eden’ from
which we’ve paradoxically ‘never been expelled’ would
seem to indicate that we are in fact not fallen, but in fact
still children of God who can tend the Garden with the
care and love it deserves. This is perhaps how Malouf
would like us to see ourselves.
‘Radiance’
‘Radiance’ also explores the duality of man. This poem
seems to be a meditation on death, though it is ironically
titled ‘Radiance’ which indicates the sun and the warmth
of life, instead of the coldness of death. Titling the poem
perhaps paradoxically allows Malouf to instantly achieve
his transcendental ideals of dualism. Before moving on
to death, Malouf first explores the shadow self and the
reverberations of the past in the present. Biblical allusion
is again heavy in the poem, with what seems to be an
allusion to the Book of Tobit when Malouf references
‘Tobias the street-smart / teen has his screwball dog,’
recalling the religious folktale of the story of the grateful
dead. This concept is specifically indicated in his lines,
‘When they / too become one / of the Grateful Dead’,
which refers perhaps somewhat comically with its
capitalisation in a pun on the folk-rock band from the

42 English Teachers Association of NSW • mETAphor Issue 3, 2021

Earth Hour by David Malouf: Notes on the poems
1960s, as well as reverberating the reference to the Book
of Tobit. The contrast between a vivacious teenager and
the pulsing beat of imagined rock music counters the
death imagery, indicating that conflated sense of life and
death of which humans are constantly aware. The idea
of death is developed in between these references by ‘the
fall across their path / at noon of a shadow / where none
should be’, again expressing the duality of man with the
concept that in order to have a shadow at noon, one needs
to be out in the sun. The contrast between shadows and
sun, like in ‘Aquarius’, serves as shorthand to remind us
of our dual natures in the physical and spiritual worlds.
Being so privileged, we must make use of our prominence
and power to save our environment.
Toward the end of the poem, Malouf takes us back to the
mystery of death particularly in a person of faith, as an
‘angel’ that connotes a child, being ‘waist high at our side’,
appears and ushers us ‘at his nod’ to the next realm. This
reference to angels links to ‘A Recollection of Starlings:
Rome ’84’ with its destructive ‘Avenging / Angel’, and to
‘Towards Midnight’, with its contrasting ‘guardian angel’
and ‘upstart angel’. For Malouf, the spirit world exists right
alongside us, ever-present in the human condition, as
Malouf focuses his energies on ‘the point where objects
cross the consciousness and become perception’, (Malouf
in Tulip 275, in Haskell, ‘Silence and poetic inwardness in
the writings of David Malouf ’).
The poem ends on a cyclical note with the image of
an ‘infant’, recalling the start of the life cycle after his
meditation on death, and how we are ‘smiling’ which
reminds us of the sibilant ‘serenely’ in the poem’s second
line. The poem’s purpose seems to be to remind us of the
cycle of life, the mystery of spiritual presence in our lives,
and the fact that we are all ultimately united by the same
fate. As such, since we are all leveled by death in the end, we
should realise the importance of life, the sun, its radiance,
and our ability to shape a green future for posterity. The use
of couplets throughout the poem seems to represent this
duality of body and spirit, with the final single line, ‘smiling’,
breaking the pattern, and paradoxically revealing the
disembodied soul broken free of its body, but finding peace
in this freedom.
‘Ladybird’
Malouf has stated that he focuses on poetic writing even
in his prose because he wanted to explore what he had
to say in ‘some more inward way’. Critic Dennis Haskell
avers that the ‘idea of “some more inward way” seems to
[him] key to all Malouf ’s writing.’ Malouf moves us into
the inner world of memory and nostalgia with this poem
that centres on the outward being of a ladybird which has
connotations of childhood with its intertextual reference
to the nursery rhyme. Here, through enjambment meant
English Teachers Association of NSW • mETAphor Issue 3, 2021
to echo the fleeting attention span, wonder and naïveté of
childhood, Malouf begins a meditation on a small creature
of nature, the ladybird, who represents ‘a kind of grace’,
for its ephemeral visitations to us, particularly noticed
in youth. There is a sense in the poem of pantheism, the
idea that God is present in nature, and this poem with its
focus on nature and the innocence of childhood echoes
the Romantic era poets. The child in the poem ‘sped her
/ on her way with the same breath / we used to snuff out
birthdays / on a cake’. The imagery of fire that dominates
the second half of the poem lies at the heart of the nursery
rhyme, and this odd juxtaposition of innocent insect
and the anthropomorphic desire to rush home to save
imagined ladybird babies from a fire is rightly questioned
by the recollected child, ‘(but why/was her house on fire?)’.
Malouf here juxtaposes the innocence of childhood with
the savagery that colours the grown-up world around us,
perhaps a different kind of dualism reliant on memory,
since we can all remember childhood moments as we
grow. The adult and child become conflated by memory
and can almost exist in the same space, with this duality
of child and adult mind represented by the intrusive
parenthetical questions.
The child is connected to the ladybird through his breath,
paradoxically representing the power of the individual to
animate the insect in flight, but also bring death to the
flames of birthday candles (and by extension, the ladybird
itself, since it is metaphorically described as the flame on
the birthday candles— ‘the break and flare / of her wings
the flame that leapt / from the match’). Again, Malouf
gives us another kind of duality. This power is reiterated
at the end of the poem when Malouf notes, ‘In our hands
/ (we had no warning / of this) the world is alive and
dangerous’, and here the hands may be both those of the
child and of the adult recollecting the past.
Through recollecting the simple childhood pleasures of
communing with nature, and conjuring the power an
individual holds over nature—controlling the flight of
the ladybird and the presence or absence of fire—Malouf
wants to awaken us to the delight we take in the natural
wonders of our earthly home, but also to realise the power
we wield to bring our environment harm, or heal it.
‘A recollection of starlings: Rome ‘84’
Again Malouf takes memory as his starting point in this
poem, drawn from his experiences living in Italy in the
1980s. As Emily Bitto states, ‘The act of remembering,
of looking back on the past, is for Malouf always a re-
presentation of both time and space’. He takes inspiration
from this poem from watching starlings at dusk in Rome,
as they swoop en masse in murmurations over the ‘Eternal
City’. The scattered words on the page--the fragmented
lineation--mimic the flight of the flock of starlings as
43
Earth Hour by David Malouf: Notes on the poems

they form seemingly random patterns over Rome. By

juxtaposing the fleeting movements of birds, themselves
short-lived creatures, at dusk—when light too is fleeting
and soon to give way to darkness—with a city of antiquity,
given its name by centuries of poets who wrote about it,
Malouf again reminds us of the duality of man: we exist
in one moment of conflated space and time, yet we can
remember and imagine the past, and the future, thus
transcending our physical limitations. As Bitto states, ‘Any
“single” place is conceived temporally as well as spatially
in Malouf ’s poetry, as constituted by the sediment of past
versions of itself ’.
The poem is a meditation on the creative process, and
of the process of creating poetry, the ‘flight / of starlings’
juxtaposed with the ‘wing-clatter / of a typewriter’ and
the ‘scatter/of letters’. Words on a page seem random to
the poet like movements of the birds seem random, but
there is method in the madness as the spiritual creative
Image source: UnSplash_Erica Marsland Huynh
force ultimately makes sense of both animal movements
and human creativity. The above mentioned appositive ‘Eternal moment at Poggio Madonna’
phrases with their asyndeton further conflate the birds
This is the second poem (in this HSC suite of poems) from
and the poet, pushing them closer together so the links
Malouf’s time spent in Italy in the 1980s. He repeats his
are obvious. The process of reading the poem follows this
starting point in nature, as in ‘Ladybird’ and ‘A Recollection
same pattern, as the responder makes sense of seemingly
of Starlings: Rome ’84’, but with a cat, this time. His title is
randomly placed words on the page, linking them to
paradoxical as it juxtaposes seeming opposites—an ‘eternal
starlings. It’s almost like a cyclical process in miniature
moment”--but then this is the essence of Malouf, as noted
echoed by birds, poet and responder.
by critic Emily Bitto: ‘Malouf sees the myriad space-times of
The cyclical nature of life is referenced through the the past as already contained within the present space-time.’
destruction brought by a storm, followed by the cleansing
The meditation on the cat, ‘Miss Mischa’, transcends
it brings to the atmosphere, allowing the process to start
the physical and acts as a catalyst for the persona to
again. This is traced with the introduction of
contemplate the spot the cat has chosen to sleep, imagining
Once as a storm-cloud that the supernatural powers of the cat have allowed it to
sense how
shadow
the sun, centuries back,
swoop in a burst of candescence,
of one wing of the Avenging had danced there
This natural imagery is personified even further, playing
Angel above on the conflation of ‘sun’ and ‘god’, as a young ancient
The Avenging Angel brings death and destruction, spiritual being had been drawn back to a place where he
breaking and reforming the clouds of starlings, as well had seen and fallen in love with a beautiful mortal. All of
as clouds in weather patterns and ultimately the creative this imagined past activity about the one space is a hallmark
process as a poet writes, breaks up / in particles’ his draft, of Malouf’s writing and his idea of our multidimensionality.
and then starts his ‘new draft’ on a ‘clean sheet’. Martin Leer states, ‘Malouf is not interested in the power
Through his technical mastery and sense of whimsy in of the human mind to create something new and startling,
this poem, Malouf conflates the mystery of nature—of but in the sharp shock of déjà vu: those moments when we
what causes a flock of thousands of individual birds to realise the meaning of something that was always lurking in
act as one—with the creative process, which causes one the back of our minds, but only becomes conscious when
individual to speak to and on behalf of thousands. It is as if we see it in its true place in the pattern of things.’ This
the creative process is as much a gift from God as are the statement could apply to most of the poems in this suite.
birds, and both are guided by a kind of unseen grace. The introduction of ‘midnight’ signifies that a
transformation is taking place, and this transformation

44 English Teachers Association of NSW • mETAphor Issue 3, 2021

Earth Hour by David Malouf: Notes on the poems
again may be death. The last stanza is consumed by a
paradoxical, Escher-like image of a sleeping cat dreaming of
someone dreaming of her and within his dreams, pats her.
The meditation on the cat draws us out of ourselves, and
inspires us to contemplate the connectedness of all living
things through our imagination, and transports Malouf,
and now the responder, to existential, multidimensional
thoughts about the human condition. As Bill Ashcroft
states, ‘Malouf is fascinated by ordinary objects, first
because they are luminous with possibility, and second
because they disrupt our myth of the linearity of time.
Objects will lead us into the past as well as into the future.’
‘Towards Midnight’
The idea of midnight is reprised in ‘Towards Midnight’,
a triptych and another meditation on death and rebirth.
The poem is dedicated to Malouf ’s friend in Italy, Joan
Tesei, on her passing, and as such the idea of death makes
sense here. The poem with its three parts is complex and
phrases are reiterated, causing us to reconsider their new
meanings at different stages of the meditation.
The first section, ‘The Cup’, begins with what appears to
be a cup that holds ‘darkness’ and its contrast, ‘sunlight’--a
pattern repeated throughout this suite. This juxtaposition
reflects the dual nature of man again, recalls life and its
opposite death, and represents the human body. Malouf
moves us to the physical, and inserts the person with
‘I’ into the poem, making the suggested body concrete.
Here the persona revels in the magnificence of the body
through the act of breathing, and a sense of peace is
connoted by the presence of the very body, here called a
‘guardian angel / of the ordinary / and of this world’. The
power of the persona’s mind makes sense of ‘what sleep
for a time / has scattered’ through memory, however
sometimes these memories are ‘bitter- / sweet’, the
enjambment here echoing the pain past recollections can
bring, especially if they are of a deceased friend.
From the quotidian cup—and we can think back to Bill
Ashcroft’s statement about Malouf ’s fascination with
ordinary objects to serve as portals to the past or the
future—we reach the transformational through the
eponymous section, ‘Towards Midnight’. Midnight is the
witching hour, a time where day and night seem to exist
in one instant. Here, the feeling of unease initiated in the
last stanza of the first section continues. Malouf draws our
attention to the shadow self, the ‘upstart angel’ or ‘visitant
lurker’. Enjambment here between ‘a stranger’ and ‘upstart
angel’ conveys the disturbance from these dark thoughts,
and the complexities of life’s experiences. The image of
the ‘late guest’ in the final stanza suggests that the human
condition is one where we wrestle with our demons, but
still welcome this struggle as part of life. The room in this
section is a metaphor for the mind.
English Teachers Association of NSW • mETAphor Issue 3, 2021
Darkness gives way to ‘The Rapture’, here meant to
represent both literal overwhelming joy but also, in the
Biblical sense, the moment when believers in Christ will
be lifted to Heaven at His second coming. This section of
the poem is coloured by the repeated use of hendiadys,
again to reflect the duality of man: ‘being seized / and
taken’, ‘trembled and cracked open’, ‘the moment / and
all / time’, and finally ‘swept up and taken’. There seems
to be a paradox in the third pairing as one moment
cannot equal all time, but for Malouf, it does exactly that.
Because of our multidimensionality, we are able to exist in
one moment of space and time, but remember everything
before us and imagine everything that will come in the
future. This is the grace of the human being, and the
reason we are tasked with the responsibility of caring for
our environment—we are specially created by God. This
section of the poem is also colored by enjambment which
mirrors the moment of confusion at transformation to
spirit, ‘less / a breaking than a breaking / out’. There is
comfort here, and perhaps Malouf is comforting himself
as he considers the loss of his friend.
‘Earth Hour’
In the eponymous poem, Malouf arguably moves to a
cautionary approach to his didacticism, as he scolds
responders for smugly and glibly living in ‘McMansions’
foolishly thinking their extravagance can be mitigated
if they turn their lights out an hour a year and give
a gold coin donation to help environmental efforts.
While Dennis Haskell calls Malouf ‘by temperament an
optimist’, here we see the opposite. The fourth word in
the poem is ‘our’ and this collective pronoun is significant
as Malouf wants responders to see environmentalism as
a universal concern. The repetition of ‘earth hour’ at the
end of the first stanza is tongue in cheek as he means
our own deaths, but the phrase itself has a connotation
of the doomsday clock heralding the point of man-made
global catastrophe (we are supposed to be at two minutes
to midnight, incidentally). The clock is a metaphor for
threats to humanity from unchecked technological and
scientific advances. Responders are reminded again of our
connection with nature and the animal world through
the repeated collective first person pronoun, ‘we are feral
/ at heart, unhouseled creatures’. Malouf implores us to
remember the truth of our primordial selves, rather than
be caught up with trappings of materialism and supposed
progress. His use of oxymoron in ‘accommodating
tomb’ in the last line reveals the paradox of living in a
‘Shatzkammer’, a treasure house, which we’ve made into
a midden, or a dump for domestic waste. The tone here
is quite punitive, and should engender in the responder
a quick embracing environmentalism, and the realisation
that our time here is finite and should be appreciated.
45
Earth Hour by David Malouf: Notes on the poems
‘Aquarius II’
Martin Leer states that, ‘Malouf ’s topography of the
psyche seems to reject the Freudian iceberg image of
conscious and subconscious. It is more concerned
with out and inner than with upper and lower, more
concerned with perception and more conscious of its
own language as a means of perception.’ The final poem
in the suite recalls with circularity the opening poem, and
reflects textual integrity as Malouf focuses on the cyclical
nature of life. While ‘Aquarius’ was a more generalised
reflection on our dual existence, this poem takes the
same specific location near water —presumably of the
Aquarius apartment block on the ocean in the Gold
Coast—as its starting point for a rumination on that
same topic. The poem is about death, and yet is about
rebirth. Remembering that Malouf is an octogenarian
at the time of writing, he arguably links himself to other
great composers who have left the stage. One reference
is to Mozart, ‘the first four downward / notes of K.581’
and the direct naming, ‘Mozart’. The music referenced
was written in 1789 and is one of Mozart’s last pieces of
writing, so this knowledge of a final piece of writing by
a great composer connotes that sense of legacy Malouf
wants to communicate through this volume of poetry.
The other reference may be more oblique, but again
arguably the final stanza of the poem could be said to
recall Shakespeare’s Macbeth in Act V, Scene 5, when
he laments at the end of his trials, ‘Life’s but a walking
shadow, a poor player / That struts and frets his hour
upon the stage, / And then is heard no more’. The feeling
of the ‘little drummer’ making his ‘ado’ with the ‘fax /
and fiddle’ having ‘had their say’, is like an actor making
an exit after a performance, or a person about to slough
off his mortal coil after the sturm and drang of life. The
word ‘ado’ seems to be an aural pun, as its literal meaning
is of a commotion, bustle or tumult, which can be a
metaphor for life; however, when pronounced, the word
sounds similar to ‘adieu’, the French colloquialism for
‘good bye’, which literally translates to ‘to God’.
The aural pun communicates Malouf ’s worldview in an
instant—that human reality is comprised of the bustle
of life and the reality of our coming death, all in one
breath. The final juxtaposition of ‘to call it / a night,
call it a day’, colloquially reiterates Malouf ’s insistence
that we remember our dual natures and the balance of
everything in the universe as we can only see the light
of stars because of the darkness surrounding them.
The colloquialism of ‘call it a day’ signifies the end of
46
something, in this case, a life, and also reminds us of
Malouf ’s purpose to make his poetry accessible and
inclusive of everyone, in our common humanity through
this common phrase. Malouf after all admits that he
is making an exit: ‘I leave the room / to its play, sacred
perhaps, with salt and sun-motes.’ Again, he imagines the
life of a space beyond the time in which he can perceive
it, but assumes it has its own life, even though he can no
longer experience it. This idea of some kind of life after
death fits in nicely with the idea of the cyclical structure
of the suite, and indicates the textual integrity of the poem
and the suite.
Final word
Teaching at a Lebanese Maronite Catholic College, our
faculty was delighted to find that David Malouf ’s poetry
had made its way onto the HSC Advanced English
prescriptions list for the new syllabus back in 2019 and as
you see from the notes above each of the selected poems
adds a richness to teaching and learning experiences. The
inclusion of the suite of poems from the book Earth Hour
was central to our new pattern of study, and dictated
subsequent chess moves. When we first started teaching
the poems, we weren’t sure how they would be received
by our students as the subject matter is more existential
than the average 17 or 18 year-old might be inclined to
explore, but the reception has been positive. In addition
to enjoying the poems, our students have performed well
on this section of the HSC in our limited run. Malouf
has added a sense of multi-dimensionality and multi-
temporality with poems spanning infant, present and
older selves.
Malouf has said that ‘Poems often discover something
the poet doesn’t know’, according to critic Mike Ladd,
and this admission is surely what he intended with his
volume, Earth Hour, that these poems would go on long
after his own physical life—like the immortality attained
by Mozart and Shakespeare—instructing and awakening
future generations to the reality of the unity of all living
creatures, and an awareness that we with our dual natures
are acutely positioned to serve as stewards of the Earth.
We have made it a habit to hold a painting session as one
of our last module lessons, asking students to select their
favourite quote from one of the poems and represent
it through watercolour. The students consistently come
away saying it was ‘the best’ English lesson they’ve
had! I’m never sure how to take that, because it’s… art.
Somehow that conflation seems a fitting conclusion to
draw from this text.
English Teachers Association of NSW • mETAphor Issue 3, 2021
Earth Hour by David Malouf: Notes on the poems

Critical Articles
ASHCROFT, Bill. ‘David Malouf and the poetics of
possibility.’ Journal of the Association for the Study of
Australian Literature, [S.l.], v. 14, n. 2, apr. 2014. ISSN
1833-6027. Available at: https://openjournals.library.
sydney.edu.au/index.php/JASAL/article/view/9889.
Date accessed: 08 june 2021.
BITTO, Emily. ‘Our own way back: Spatial memory in the
poetry of David Malouf.’ Journal of the Association for
the Study of Australian Literature, [S.l.], v. 8, p. 92-
106, June 2008. ISSN 1833-6027. Available at: https://
openjournals.library.sydney.edu.au/index.php/JASAL/
article/view/9736. Date accessed: 08 june 2021.
HASKELL, Dennis. ‘Silence and poetic inwardness in the
writings of David Malouf.’ Journal of the Association
for the Study of Australian Literature, [S.l.], v. 14, n.
2, Apr. 2014. ISSN 1833-6027. Available at: https://
openjournals.library.sydney.edu.au/index.php/JASAL/
article/view/9887. Date accessed: 08 june 2021.
Indyk, Ivor. ‘David Malouf: A life in letters.’ Sydney
Review of Books, vol. 4, 4 July 2014David Malouf : a
life in letters Language eng Date 2014 Author Indyk,
Ivor Western Sydney University Extent 10 Handle
https://hdl.handle.net/1959.7/uws:54556 URL http://
www.sydneyreviewofbooks.com/david-malouf-
earth-hour-first-place/ Subjects Malouf, David,
1934- Publication Type journal article Relation Sydney
Review of Books ISSN 2201-8735 Volume, Issue,
Pages Vol. 4 July 2014 Volume 4 July 2014 Publisher
Writing and Society Research Centre, Western Sydney
University Place Published Penrith, N.S.W.
Leer, Martin. ‘At the edge: Geography and the
imagination in the work of David Malouf.’ Australian
Literary Studies, vol. 12, no. 1, 1985, doi: 10.20314/als.
e9938dde39.

ENRICHING READING
TO WRITE
Wednesday webinars – 18 August, 1 September & 6 October
Presenters: Mel Dixon, Eva Gold & Ann Small
Webinar session time: 4.30 – 6.00pm • Venue: Your home or school computer

SESSION TOPICS:
• Understanding the terrain of Reading to Write and how to explore it
• Introducing Year 10 to creative nonfiction and discursive writing
• Reading to Write: Harnessing the visual and verbal
Recordings of each webinar will be available for 30 days after each session.

COST (incl: GST): Faculty members, per teacher $200, Personal members $180,
Non Members please join or renew your ETA NSW membership before booking.
Further information: www.englishteacher.com.au/events/event/enriching-
reading-to-write

English Teachers Association of NSW • mETAphor Issue 3, 2021 47