The Art of Standing Firm: Lessons from a Literary Battleground
When I first heard about the collapse of Adelaide Writers’ Week, I couldn’t help but think: This is what happens when art collides with politics. But as I delved deeper into the story of Rosemarie Milsom, the newly appointed director of AWW, I realized there’s a far more nuanced lesson here—one about leadership, integrity, and the courage to stand firm in the face of controversy.
What makes this particularly fascinating is how Milsom’s approach contrasts with the chaos that engulfed Adelaide. While the festival imploded over the disinvitation of Palestinian-Australian author Randa Abdel-Fattah, Milsom, who had also booked Abdel-Fattah for the Newcastle Writers Festival, navigated the storm with remarkable poise. Personally, I think this isn’t just about one author or one festival; it’s about the broader question of how arts organizations handle political pressure.
One thing that immediately stands out is Milsom’s refusal to capitulate. When faced with threats, political backlash, and even calls to revoke her festival’s funding, she didn’t flinch. What many people don’t realize is that her background—born in Bosnia, a survivor of genocide—gives her a unique perspective on the importance of free expression. In her words, ‘If you think it’s damaging for writers to be able to speak their mind, that is an alarming state of affairs.’ This isn’t just a soundbite; it’s a deeply held belief that shapes her leadership.
From my perspective, the real story here isn’t the controversy itself but how Milsom turned it into an opportunity. While Adelaide’s festival crumbled under pressure, Newcastle’s thrived. Record attendance, no boycotts, and a community that rallied around the festival. If you take a step back and think about it, this is a masterclass in crisis management. Milsom didn’t just defend her decision; she reminded everyone of the economic and cultural value of her festival. That’s a detail I find especially interesting—she didn’t just stand on principle; she made a practical case for why her festival mattered.
This raises a deeper question: Why do so many arts organizations cave under pressure? Milsom’s critique of institutions like Creative Australia and the Melbourne Symphony Orchestra is sharp. ‘I’m really disappointed they keep making the same mistake,’ she says. What this really suggests is that appeasement isn’t a strategy—it’s a surrender. And in a world where every decision is scrutinized, that’s a dangerous precedent.
What’s also striking is Milsom’s emphasis on governance. ‘When governance fails, you get what happened in Adelaide,’ she notes. This isn’t just about one festival; it’s about the fragility of institutions when their leaders are more concerned with pleasing sponsors than upholding their mission. In my opinion, this is where Milsom’s leadership shines. She didn’t just rely on her own convictions; she ensured her board was aligned with her vision.
Looking ahead, Milsom’s appointment to Adelaide Writers’ Week feels like a turning point. But it’s not without risks. Will she have the same support in Adelaide that she had in Newcastle? Personally, I think her success will depend on whether the new board truly understands the value of curatorial independence. What this really suggests is that rebuilding AWW isn’t just about programming—it’s about restoring trust.
As for Abdel-Fattah’s invitation to the 2027 festival, it’s a symbolic gesture, but one that speaks volumes. Milsom’s stance is clear: ‘She should be allowed to have those views, and that shouldn’t affect her invitation.’ This isn’t just about one author; it’s about the principle of free expression in a polarized world.
In the end, what Milsom’s story teaches us is that leadership isn’t about avoiding controversy—it’s about navigating it with integrity. As she steps into her new role, I can’t help but wonder: Will Adelaide Writers’ Week emerge stronger, or will it remain a cautionary tale? One thing’s for sure: Rosemarie Milsom isn’t just running a festival; she’s redefining what it means to lead in the arts. And that, in my opinion, is the most compelling story of all.
