The director of a major Australian literary festival has resigned in protest after the event's board cancelled the invitation of a prominent Palestinian author, triggering a fierce debate about artistic freedom and political pressure.
A Resignation on Principle
Louise Adler has stepped down from her role as director of Adelaide Writers' Week (AWW) following the Adelaide Festival board's controversial decision to disinvite Australian Palestinian writer Randa Abdel-Fattah. Adler stated she could not be party to silencing writers, marking a dramatic rupture at the heart of the 65-year-old event.
The board's move, taken against Adler's strongest opposition, was justified on grounds of "cultural sensitivity." The decision was backed by South Australian Premier Peter Malinauskas, a reversal from a previous stance where he warned against politicians stifling free speech.
The Chilling Effect on Free Expression
Adler argues the cancellation weakens freedom of speech and signals a less free nation, where lobbying and political pressure dictate who is heard. She connects it to a wider pattern of constraint following the Bondi atrocity, where protests have been outlawed and speech curtailed.
The fallout has been immediate and significant. At the time of Adler's writing, more than 180 writers had withdrawn from the festival in solidarity. Three board members have also resigned, and Abdel-Fattah has sent a legal notice to the festival.
Adler cites a series of recent arts crises in Australia linked to the war in Gaza, including incidents at the Sydney Festival, Sydney Theatre Company, Melbourne Symphony Orchestra, and the Venice Biennale. She contends that boards, often composed of individuals with limited arts experience, are being unnerved by political calculation and coordinated lobbying campaigns.
From 'Athens of the South' to 'Moscow on the Torrens'
Adler contrasts the current climate with the event's long, peaceful history, noting that in 65 years, the only disturbances were complaints about coffee queues or pumpkin-filled croissants. She fears the invocation of "community cohesion" and "safety" is managerialist code for suppressing unwanted opinions.
The director warns that the increasingly repressive efforts to stifle criticism of Israel are having a chilling effect. She labels the new mantra "Bondi changed everything" a coercive weapon for lobbyists, compliant media, and a spineless political class.
Adler concludes with a stark warning to the arts community: "They are coming for you." She frames Adelaide Writers' Week as a canary in the coalmine for artistic freedom in Australia, as media closes up and politicians grow more cowed.
