‘A father is God to his son,’ declares the father in David Whish-Wilson’s story ‘The Cook’, just a split second before he is shot dead by his drug-dealing son. Thus begins this special edition of Westerly, which marks not only the magazine’s sixtieth year of publication but also the retirement of its two standing editors, Delys Bird and Tony Hughes-d’Aeth.

Voices of the dispossessed appropriate the narratives in the current issue of Westerly. The fiction in this issue is the strongest section, largely due to the originality and diversity of the writing. M.T. O’Byrne’s magic-realist short story, ‘The Day Before Christmas Island’, introduces the voice of the refugee. Reminiscent of Life of Pi (2001), the narrator and Thommo ‘pull a boy from the sea’, only to find that his siblings, at the end of a long fishing line, appear in the form of a shark and a whale and want to board their boat. Zdravka Evtimova’s ‘Happiness is a Simple Thing’ presents the retribution of the Oshav men who want ‘blood for blood’, while Shokoofeh Azar’s ‘The Woman Who Went to Stand There’ – translated from Persian – is the devastating story of a woman who waits a lifetime at the Somayyeh intersection to elope with her lover. Like Miss Havisham, her demise is charted in her decaying appearance. Finally, Mark O’Flynn’s ‘Turning the Other Cheek’ is a standout for its almost Nabokovian unreliable narration of a father who terrorises his murdering son.

Westerly’s descriptive subtitle (‘the best in writing from the West’) is a modest claim given its national and international reach. A feast of poetry includes offerings by familiar locals like Kevin Gillam, Andrew Lansdown, and Shane McCauley alongside poets such as Kevin Hart and Knute Skinner. There are translations of Xi’an poet, Allen Zhu Jian, by Liang Yujing; and from Russian, by Peter Porter, of poems by Eugene Dubnov. The fiction includes work by Nepali writer Smriti Ravindra, and by Shokoofeh Azar, translated by Persian–English translator Rebecca Stengal, based in France. Hardly surprising, then, that the volume resonates with a sense of diversity and literary substance.

After a decade as an annual, the enduring Western Australian journal, Westerly, will now publish a ‘traditional’ issue midyear and a ‘creative’ issue later in the year. This début ‘creative’ issue includes Indigenous writing and art (mostly the former). Guest editors Sally Morgan and Blaze Kwaymullina have produced a collection that is entertaining, informative and diverse.

One of the best things about the latest issue of Westerly is the cover, a detail from Helen Norton’s painting The shores of the excommunicated. Norton’s image is a wonderfully disquieting take on the modern Aussie beach. It inspires fresh ideas and imaginings, it unsettles, it punctures complacency, it provokes counter-reactions, but it also entertains – typifying what literary magazines should do.

In their introduction, editors Delys Bird and Dennis Haskell explain that in 2009 their annual journal will become a twice-yearly publication (a move first announced in 2007, but delayed due to funding shortfalls). A new, mid-year issue will be devoted to ‘creative work’, so Westerly’s format for end-of-year reviews – surveys of fiction, non-fiction and poetry – may remain; but all three reviewers here make highly respectable jobs of labour-intensive tasks. Roger Bourke’s fiction survey identifies Alex Miller’s Landscape of Farewell as ‘easily the most memorable and rewarding Australian novel of 2007–08’. Meriel Griffiths considers mostly new work from established poets, but her quotes from Jennifer Kornberger’s début collection, I Could Be Rain, suggest a poet worth reading. Ron Blaber’s non-fiction appraisal – sadly in need of a proofread – engages when he uses Anna Haebich’s Spinning the Dream: Assimilation in Australia 1950–1970 as a vehicle to interpret recent biographies of Kerry Packer, John Howard and Ronald Wilson.

'I had fully expected to find Karoline and her family living in difficult circumstances but in their home I am confronted and embarrassed by the extent of their poverty.’ In his stand-out piece of reportage, Peter Mares relates how Karoline and Jone came to Australia from Fiji to pick fruit, pluck chickens and make their families’ lives back home more bearable. They stay illegally, ‘enmeshed in a complex web of opportunity and obligation’. This refugee story details the global reasons for, and effects of, such journeys, as well as the daily hardship of poverty. The shock of reality, the yearning to make a positive difference, the allure of an ‘authentic’ experience, the realisation of its impossibility, and the weary cynicism of disappointment: these themes persist as Australians write about their Asian neighbourhood.