Yves Rees

REES_Yves by Bernard Wright

Yves Rees is a Senior Lecturer in History at La Trobe University, the co-host of the Archive Fever podcast, and the author of Travelling to Tomorrow (NewSouth, 2024) and All About Yves (Allen & Unwin, 2021), and co-editor of Nothing to Hide: Voices of Trans and Gender Diverse Australia (Allen & Unwin, 2022). They were awarded the 2020 ABR Calibre Essay Prize and a 2021 Varuna Residential Fellowship.

Their writing has featured in The Guardian, The Age, Sydney Review of Books, Australian Book Review, Meanjin and Overland, among many other publications

Photo credit: Bernard Wright

Articles

Go west

This fever dream of an afternoon is a standard Sunday at Broken Heel, the drag festival in the desert where queer culture meets outback Australiana. Held over a long weekend in September, Broken Heel is a five-day extrava- ganza hosted by Broken Hill’s Palace Hotel – the pub that makes a cameo appearance in Stephan Elliott’s iconic 1994 film, The Adventures of Priscilla, Queen of the Desert. Conceived as a tribute to Priscilla, which was largely filmed and partly set around Broken Hill, Broken Heel was launched by Palace owner Esther La Rovere in 2015 to coincide with the film’s twenty-first birthday. Nine years later, the drag festival had become an annual institution, attracting thousands of punters from around Australia and overseas. Thirty years after Hugo Weaving stopped traffic on Argent Street with a pink thong dress and matching wig, this storied mining town with a pub on every corner welcomed a veritable deluge of men in muumuus.

Acknowledgements, mon amour 

GR OnlineFrom there, this acknowledgement fetish expanded to my leisure reading. Novels, memoirs, narrative non-fiction – they all contained these tantalising windows into the person and story behind the book. Whenever I picked up a new tome, I would head straight to the back to find out what the author had to say for themselves.

The fight for the white stuff

EssayAlthough non-dairy milks are hardly unique to the US, there seemed something distinctly ‘American’ about the consumerist techno-utopianism of engineered nutrition. In its seductive promises and dazzling abundance, in its massification and drive for profit, and its bold-yet-arrogant ambition, the world of plant milks became a metonym for everything I loved and loathed about US culture. Give me a carton of Blue Diamond Almond Breeze and you have given me America.

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