Key Takeaways
- University of Queensland Press (UQP) decided to pulp all 5,000 printed copies of Bila, a river cycle after discovering illustrator Matt Chun’s past essay contained language deemed anti‑Semitic under the university’s new definition.
- Prominent Indigenous and culturally diverse authors—including Stella Prize winner Evelyn Araluen, Jazz Money, Randa Abdel‑Fattah, Melissa Lucashenko, Omar Sakr, Sara Haddad, and Natalia Figueroa Barroso—have announced they will sever ties with UQP in protest.
- Authors accuse UQP of acting without due process, communication, or respect, describing the decision as a politically motivated censorship that erodes trust and integrity in the publishing house.
- The controversy has sparked a broader boycott among more than 30 UQP writers, who argue the move sets a dangerous precedent for policing political or activist content.
- External retailers such as Dymocks have also removed Chun‑illustrated titles, citing concerns over connections to the Bondi massacre, while the incident raises questions about the balance between institutional anti‑discrimination policies and artistic freedom.
Background on the Cancellation of Bila
In February 2025, University of Queensland Press (UQP) announced that publication of the picture book Bila, a river cycle—written by award‑winning Wiradjuri poet Jazz Money and illustrated by Matt Chun—would not proceed. The decision came after UQP learned that Chun had previously published an essay titled We Don’t Mourn Fascists, which contained statements interpreted as anti‑Semitic under the university’s newly adopted definition of anti‑Semitism. Consequently, all 5,000 already‑printed copies were slated for pulping, despite the book’s scheduled release at the end of June and its thematic focus on a river’s journey from mountains to sea, exploring protest and environmental stewardship.
Evelyn Araluen’s Reaction and Statement
Stella Prize‑winning poet Evelyn Araluen took to Instagram to condemn UQP’s move, declaring she would “terminate any further projects and contracts” with the publisher. She characterized the decision as “shameful and abhorrent,” arguing that the work of a fellow Aboriginal storyteller was erased without due process, communication, respect, or consideration. Araluen lamented that despite the cultural, emotional, and intellectual labor contributed by First Nations writers to UQP, their output could be destroyed on a “political whim.” She accused the publisher of destroying culture, story, and any pretence of integrity it once held in the community, asserting that UQP no longer deserved the voices of its authors.
Other Authors Joining the Boycott
Following Araluen’s announcement, a wave of writers publicly pledged to cease future collaborations with UQP. Novelist Randa Abdel‑Fattah, whose own dis‑invitation from Adelaide Writers’ Week over past comments about Israel had sparked a mass author boycott earlier in the year, labelled the pulping of Bila “shameful and cowardly.” Poet Melissa Lucashenko, Omar Sakr, Sara Haddad, and Natalia Figueroa Barroso echoed similar sentiments, stating they could not entrust their future work to a publisher that had acted against the principles of truth, justice, Indigenous land rights, and self‑determination. Figueroa Barroso described feeling “trembling with indignation” and vowed never to sign with UQP again.
Details of Matt Chun’s Controversial Essay
Matt Chun’s essay We Don’t Mourn Fascists was written in response to the 2024 Bondi massacre, in which 15 people—including a 10‑year‑old girl—were killed. Chun argued that the victims’ “Whiteness, Jewishness, and the backdrop of Bondi Beach” conferred them “default innocence and virtue,” while asserting that violence affecting affluent beneficiaries and perpetrators of imperialism receives disproportionate memorialization and media attention. The passage culminated in the claim that “White, Jewish settler victimhood demands exceptional, heightened grief.” UQP’s administration interpreted these remarks as aligning with harmful tropes that could constitute anti‑Semitism under its updated policy, prompting the internal review that ultimately led to the book’s cancellation.
UQP’s Official Justification and University Policy
UQP’s statement, first released via Lamestream, asserted that publication of Bila would not proceed because “the University has determined that the statements made by Matt Chun do not align with the University’s policies and values including in light of its adopted definition of anti‑Semitism.” The press expressed regret for the impact on Jazz Money, emphasized respect for her work, and left open the possibility of future collaboration. In 2025, Australia’s public universities, including the University of Queensland, had adopted a definition of anti‑Semitism that holds criticism of Israel anti‑Semitic when it relies on harmful tropes, calls for the elimination of the State of Israel or all Jews, or holds Jewish individuals or communities responsible for Israel’s actions. UQP contended that Chun’s essay met these criteria.
Jazz Money’s Critique and Environmental Concerns
Jazz Money responded publicly, calling the decision “environmentally reckless” and “disrespectful of Aboriginal storytelling.” She warned that the move sets a “chilling standard” whereby any perceived activism for Palestine could jeopardize creators’ livelihoods. Money highlighted the gaslighting, silencing, obfuscation, and outright lies she experienced from UQP and the associated university, asserting that these actions revealed the publisher’s true stance. She noted the overwhelming support she received from fellow authors, many of whom sacrificed their own contracts in solidarity with Bila, and argued that the pulping of a book about a Wiradjuri river—unrelated to the Israeli‑Palestinian conflict—exemplifies how political pressure can suppress urgent, sensitive narratives.
Impact on Authors and Publishing Relationships
The fallout has prompted a reassessment of contractual trust between UQP and its writer roster. More than 30 authors, including Abdel‑Fattah, Sakr, Sara M Saleh, Ellen van Neerven, Allison Whittaker, Amy McQuire, and Tony Birch, penned a collective letter urging UQP to honor its contractual and ethical obligations by supporting Bila’s publication and release. They demanded that the publisher actively resist external pressures—whether media campaigns or political lobbying—that seek to halt or undermine the book. UQP director Madonna Duffy replied that the university believed it was “appropriate to review” the manuscript in response to public concern and would keep Money and Chun informed, though subsequent reports indicated that neither the authors nor UQP staff were adequately updated during the review process.
Responses from Dymocks and Other Institutions
Retail chain Dymocks acted preemptively, withdrawing all titles illustrated by Matt Chun from its shelves after complaints linked his essay to the Bondi massacre. Dymocks CEO David Allen told Sky News the chain was striving to “stay alert … and respond accordingly” to any literature with connections to the tragedy, framing the removal as a precautionary measure. This parallel action by a major bookseller amplified the perception that Chun’s work had become commercially toxic, even as critics argued that the response extended beyond the specific allegations and risked chilling legitimate artistic expression concerning geopolitical conflicts.
Author Collective Letter and UQP’s Reply
The open letter from the coalition of UQP authors emphasized solidarity with Jazz Money and Matt Chun, framing the controversy as a test of the publisher’s commitment to free expression and ethical stewardship. They contended that suppressing Bila not only harmed the individual creators but also eroded the broader literary community’s confidence in UQP as a platform for diverse voices. UQP’s reply, while acknowledging the need for review, maintained that the decision stemmed from an obligation to uphold institutional values, particularly the newly adopted anti‑Semitism definition. The exchange highlighted a growing tension between universities’ efforts to combat discrimination and authors’ fears that such policies could be weaponized to silence dissenting or politically engaged narratives.
Broader Implications for Academic Freedom and Censorship
The Bila incident raises pressing questions about how academic institutions balance anti‑discrimination mandates with the protection of creative and intellectual freedom. Critics contend that applying a broad definition of anti‑Semitism to a children’s picture book about an Indigenous river sets a dangerous precedent whereby any work touching on Palestine, activism, or systemic critique could be subject to pre‑emptive censorship. Supporters of the university’s stance argue that safeguarding communities from hateful rhetoric justifies caution, especially when public concern is voiced. As more authors sever ties with UQP and similar debates erupt at literary festivals and publishing houses worldwide, the episode underscores the need for transparent, procedurally fair mechanisms that respect both anti‑bigotry goals and the rights of creators to tell complex, sometimes uncomfortable stories.