The Tundish Review

The Tundish Review is a Brisbane based literary zine, publishing local and emerging poets. Our omniscient (fictional) editor, Stephen Dedalus collects unpublished poetry and invites local artists to illustrate the zine by responding to these contributions.

With every issue Stephen also writes a number of editorial features that light heartedly explore contemporary literary community culture and it’s interaction with the Western literary canon. These regular features include never before seen letters between jaded lovers Simone de Beauvoir and Jean Paul Sartre, canonical cento poems, articles on metric poetry and a very Brisbane rewriting of some classic long form poems.

Stephen is an ambivalent editor at the best of times. We can rarely tell whether he loves or hates the canon. We think both, but when we press him on these pertinent questions—‘Stephen, what the fuck is a Tundish?’—he only hisses and hides behind a tome of modernist novels.

Fine the zine here


The Tundish Review is co-edited by Katelyn Goyen and Nick van Buuren, two young emerging Brisbane poets. Katelyn and Nick met in classes at the University of Queensland and soon found that they had more in common when talking poetry and zines then they did talking law. Since then Katelyn has gone on to publish poetry Pressure Gauge Press and Woolf Pack. Nick has read at the 2017 Queensland Poetry Festival as a QPF Emerging Voice and had his work published with Bareknuckle Poet, Pastel Magazine, sugarcane and Jacaranda. He is also the recipient of the 2017 Kingshott Cassidy Poetry Scholarship.


We were inspired to start The Tundish Review by Brisbane’s vibrant zine culture and the enticing notion that we might actually be able to publish our own and others’ poetry without the daunting and intimidating constraints of traditional publishing formats. Student magazines around campus often ornament their publications with poetry, yet we were always worried about how interested their audiences were in our work. We saw in a lot of great local zines such as Bronte and Annabelle zine, Woolf Pack, and Sober Bob, how the zine format and community really enables you to go out there and find the audience that wants to hear what you have to say. As students, the idea of publishing all this without the overheads of a more formal print format was also a huge plus.


The Brisbane zine community is amazing! There are so many unique and creative zines around, run by equally unique and creative people. The community has been welcoming to us as newcomers, and most zinesters are always keen to share a tip or two with you. Up here we are also lucky enough to be supported by spaces such as Visible Ink, which provide tools for printing and creating, as well as a swell zine library. Supportive local businesses such as Junky Comics have also been fundamental in making us look much cooler than we actually are. We don’t think nearly as many people would have heard about our zine if it weren’t for these local institutions. There are so many wonderful writers and artists in our community and we’re just really privileged to be able to feature them in our pretty little zines.


The first step is just to get in there and make it. It’s hard to go wrong with a zine. That said, zines can take up a lot of time and energy so we’d recommend taking some time before you start to work out what it is you want to say and why you want to say it.

Ultimately, there’s no right or wrong answer to these questions but you do want to narrow things down to something that you are interested and invested in bringing to life. That’s what’ll make the difference at midnight, the night before your launch when the stapler breaks and you’re wondering why the hell you didn’t move to Switzerland while you had the chance, a young soprano so full of hope. It’ll also make a huge difference to your readers. People can tell when you’re passionate about a project, and they’ll dig that.