Digital Issue 2: Here and Then
This yearās issue ā Here and Then ā is the embodiment of the very existence of Visible Ink.
Here we have its second official digital issue, accessible on every electronic screen, be it computer, mobile or tablet ā or, hell, even the tiny eye-searing screen of a smart watch. Here, en dashes and em dashes are determined by unicode rather than the length of their namesake letter, and production meetings on Microsoft Teams allows you to work closely with people youāve never met face to face before. Here, Visible Ink has grown larger than Victoria.
But Then ā all the way back in 1989 ā Visible Ink was a humble printer-paper magazine put together by eager students desiring to give shape not only to the voices of emerging writers, but to the hopes and dreams of student editors, designers and creatives. Then, deadlines were determined by the printing supplierās closing hours, and the final product was the feeling of 90 gsm paper between your fingertips. Then, Visible Ink made its first step into Melbourneās literary landscape.
Congratulations to this yearās team who continue this legacy, taking the cumulative knowledge of not just their own studies, but the learnings of Visible Ink members before them, to produce an anthology that walks the tightrope of time and space. May your time creating Digital Issue 2 become a memory you look back on with pride and wonder, and encourage you to keep going.
And congratulations to the emerging writers brave enough to bare a part of their soul to the hungry gaze of the masses. In a theme as intimate as Here and Then, thank you for allowing Visible Ink to be part of your Here, and, hopefully, your Then as you grow in your creative careers.
Digital Issue 2 is both a collection and reflection as these writers explore the power of time: the ripple effects of a single leaf floating on the surface of a pond, or a cliff crumbling into an unsuspecting ocean. As Digital Issue 1 showed us, the passage of time can be a painful loss, but also an incredible revival.
Readers are invited to consume, to imagine, to challenge the ideas presented to them in Digital Issue 2 ... and perhaps even contemplate their own Then that has led them to this place, to this moment and to this page.
Maybe one day youāll join us Here.
Introduction by Sophia Chan (2024 Visible Ink Editor-in-Chief)
Fiction
I remember the day you left because the trees were covered in silver and the sky was on fire.
The sun sank beneath the skyline taking the light with it. Darkness was fast approaching, and with it all that thrived in the night. One such night inhabitant was strolling unconcerned down the cobblestone streets past tall concrete buildings. He didnāt appear much older than seventeen, his hair as black as a raven's wing, and skin as pale as the moonlight. He wore a dark coat against the chill, yet he didn't feel cold. He hadn't in a long time.
āWhat gate is it again?ā Esther asked, dragging her carry-on through the sterile terminal. Something too small to dislodge, but large enough to render the bag useless, was caught behind the wheel.
Thatās what happens when you pay peanuts, Lucy thought. āTwenty-six,ā she gritted. It was at least the third time sheād told her.
Imagination is such a funny thing. When we are young, we fantasise about sailing around the world on a rollicking adventure. Then we hit our twenties: the annoyance of a career paves the way for leery weekends, and we cannot envision life could be better than booze, casual lovers and football. And when we reach old age, we imagine what life would have been like if our last partner ā the one we shared twenty, thirty, forty years of life with ā had lived another ten.
Something had taken Lexington Wardās father down quickly. An illness of sorts, it was presumed. His passing was unprecedented, leaving everyone reeling. The headlines read:
āToo youngā.
āGunther Ward: lost at his peakā.
āThe worldās richest man taken before his timeā.
It was late afternoon when I stepped out of Flinders Street Station, my coat damp from the lingering drizzle. My fingers were still numb from the chill as I wandered towards the counter. The umbrella waited for me in the lost-and-found box like a promise: sky-blue, frayed at the edges and ribs crooked like old fingers. It leaned gently against the side of the box as though it had simply grown tired of being forgotten. Among the mismatched gloves and cracked phone cases, it pulsed with a quiet significance, as if holding a secret.
Anna had a stiffness about her. She was not entirely comfortable ā drawing herself tight, postured like a ballerina, holding herself in perfect straightness. She was thin, almost see-through, her skin pale and bespeckled. There was a drained look with a sense of lingering sadness. But she was weirdly calm, almost too calm. Anna looked like she was from another time. She had an old-fashioned elegance, which could have been from the 1930s. Definitely preāWorld War II. She was waiting to grow into herself. Not quite beautiful ā but almost there.
Flash Fiction
Some memories donāt stay where you put them. Some slip through the cracks between breakfast and the next breath of fresh air. Some are between familiar faces and a name you used to say every day but can no longer remember. Some go quietly into the corners of your mind where no-one visits anymore. Others resurface with no warning; they appear as clear as if they never left in the first place.
Salt stings your eyes. You wipe your grubby hand across your forehead. Dirt smears your thigh as you dry your hand on your trousers. You grasp the pick with both hands. Your arms strain on the backswing. Thwack. Fast. Powerful. The crunch of metal on gravel lingers in the fetid air. Again, you lift. Thwack. Dirt crumbles. Forward, you move. Progress.
God died.
He had needed a miracle. He demanded medicine, so we prayed and chanted and placed leeches on his stomach. He screamed for a hospital, but none of us understood the word. He groaned, his last breath rumbling against his rib cage. Outside, past the trees, I glimpsed an echo that had been left behind by twin lights. In the morning, we buried God next to Lucy.
The stillness of the bedroom unsettled me when we first moved in. The window has been locked and painted shut, and there is a long, thin crack in the door that looks like a painful wound. At the end of the bed is a hole in the floorboards about the size of my open hand, which the tenant before us had tried to patch over with layers of clear sticky tape.
Nonfiction
Over the past year Iāve had recurring dreams involving water. I am usually standing on an embankment watching as people dive into flowing rivers and oceans and transform into glistening fish and seals. The water is cool and clear and ripples over their smooth animal bodies, and I am filled with desire to join the swimmers and be carried away by the current. In her book, Everybody, Olivia Liang asks you to imagine what it would be like to inhabit a body without fear. Maybe that is what Iām doing as I stand on the embankments.
Iāve always felt drawn to a cabin in the woods.
When I feel shackled, smoke-signals from a faraway chimney call out to me. They whisper tales of warmth, perfect imperfections and eccentric decorations. A cozy life, built on humble grounds.
Is it the promise of isolation that feels so freeing? The quiet?
There are so many last times, and you never know, at the time, that they are last times. The last time I dyed my hair red. The last word you say to a teacher as you leave their classroom. The last book I read to Eva. The last time Leo reached for my hand. The last time I carried Leo, his warm head on my shoulder, thinking only of getting him to bed. You stop and donāt start again. You donāt notice the stopping until much later.
But when I said goodbye to my father, I knew. That was it.
I almost cried today when I saw you.
It happened last week too. I thought it was just because of The Sparkling ā you know, when the morning sunlight hits rippling water and youāre listening to Coldplay at the same time.
But today was gusty and gloomy, and Mumford & Sons, so it didnāt quite make sense.
My quiet suburban street feels like a highway. A narrow, two-way road speckled with glass and bits of cars from fast driversā failed passes. There is always construction. The sounds of hammers and drills blend with bird songs, trampolines and barking. Between the street and my house is a red brick fence that glows in the afternoon sun. Slender silver trails wind up and over the recessed mortar, traversing cracks and weeds. The webs of glittery tracks merge at the base of the chipped metal flap and disappear into the hollow chamber. The place where the outside world tries to reach me.
Poetry
Late night, Rome uni write, failed badly ā
I smell rain through open window,
it breathes over mouse shit
still to clean
scene
of drought, existing.
The big black dog comes out and again we meet.
He is meeker this time, panting in the scorching heat.
If I had a Monopoly on my life,
Iād capitalise on Old Kent Road right through to Northumberland Avenue,
renovate them and sell them for millions above asking price.
You don't like red wine,
But you tried it for me anyway.
Orange soda on steaming cement pavements,
Broken skin and fleshy Band Aids
Screaming voices and home-cooked meals.
Dilapidated yards of dirt and gold ā castles of broken wood and black tarp.
Thank you to the 2025 Visible Ink team
Executive Committee
Joyce Protacio (Editor-in-Chief)
Otto Riddell (Secretary)
Amber Hall (Managing Editor)
Submissions Team
Maz Blanch
Clare Dixon
Katya Dugec
Dulcie Evans
Matt Freeman
Mason Henshall
Persephone Daisy Hunter
Claire Jenkins
Editorial Team
Christine Bayley
Edwina Berry
Katrina Bosanquet
Abby Jackson
Jihan Mirza
Madeline McFarlane
Talisha Ohanessian
Anastasia Parker
Melissa Reed
Adriana Salib
Rowan Williams
Rhiannon Bentley
Communications and Design
Nadjellah Mendoza
Alice Reid
Chance John
Charlie Robertson
Community and Events
Tien Le
Kate Purchase
Shaun Ng
RMIT Staff Advisors
Yannick Thoroval
Louisa Syme
Dzintra Boyd
Sarah Vincent
John Reeves