In the aftermath of the abrupt cancellation of Adelaide Writers’ Week, a ripple of uncertainty has spread across Australia’s literary festival landscape. The cultural environment was already tense; for the past three years, festival organizers have had to navigate the complex interplay of Middle Eastern geopolitics and local debates over identity and expression. However, the recent Bondi massacre and the ensuing tensions following Hamas’ attack on Israel on October 7, 2023, and Israel’s subsequent retaliation in Gaza, have shifted the focus from theoretical discussions to immediate crisis management.
Once considered prestigious, the roles of festival directors have transformed into challenging diplomatic positions. The introduction of new hate speech laws, still untested, further complicates the environment for festival planning. “I’ve never seen Australian arts so fractured and on tenterhooks,” a leading festival curator remarked, reflecting on a writers’ boycott that followed the disinvitation of Palestinian-Australian writer Dr. Randa Abdel-Fattah under pressure from the South Australian government.
Controversy and Resignations
The cancellation of Adelaide Writers’ Week two weeks ago made international headlines, casting a shadow over the 2026 festival circuit. The situation escalated last week with the resignation of Writers’ Week director Louise Adler and most of the board. South Australian Premier Peter Malinauskas faced accusations of pressuring the board, which he denies. Abdel-Fattah threatened legal action against Malinauskas, accusing him of defamation. The controversy deepened when it emerged that both Abdel-Fattah and Adler had previously lobbied to remove Jewish writer Thomas Friedman from the 2024 line-up after his controversial article.
Rosemary Sorensen, founder of the Bendigo Writers Festival, which also faced cancellation in 2026, commented, “It’s impossible to say Israel and Palestine is not our issue. Writers’ festivals are where you hear people speak who know what they’re talking about, unmediated and sometimes unabridged. Surely, that’s worth fighting for.”
Implications for Future Festivals
Adelaide’s turmoil may serve as a cautionary tale for upcoming festivals in Newcastle, Sydney, and Melbourne. However, the sensitivity surrounding these events is so acute that representatives from Melbourne and Sydney Writers’ Festivals declined interviews for this story. Adelaide’s collapse underscores the reputational risks of cancelling guests and the dangers of political interference, while foreshadowing increased scrutiny of festival programs and their intent to foster intellectual discourse.
“Of course I stand for free expression,” says publisher Morry Schwartz, who believes Abdel-Fattah should never have been invited to Adelaide Writers’ Week. “But nothing is absolute, and expression becomes problematic when it causes real fear or harm.”
Self-Censorship and Political Pressure
For some, the greater danger lies in self-censorship driven by political pressure and the chilling effect of reputational risk. Abdel-Fattah faced criticism for past social media posts and for changing her profile picture to a paraglider with a Palestinian flag parachute shortly after the October 7 attack. She has since apologized, stating she was unaware of the attack’s scale at the time.
Adler claims that a campaign by the Murdoch press and Israel supporters has sought to silence critics of Israel, including Abdel-Fattah. Meanwhile, some Jewish creatives report exclusion from events since October 7, 2023. Professor Clare Wright, who joined the author walkout at Adelaide, argues that criticism of Abdel-Fattah serves as a “warning to other festival directors” against inviting Palestinian artists.
Future of Literary Festivals
The controversy has prompted all upcoming 2026 festivals to scrutinize their programs for risk. “Everyone is looking closely at their governance around curatorial independence,” notes Rosemarie Milsom, director of the Newcastle Writers Festival. Milsom, who has faced pressure in the past, emphasizes the importance of consultation and support from writers, though security remains a necessary measure.
Kathy Shand, former chair of the Sydney Writers’ Festival, stresses the importance of maintaining independence while ensuring festivals remain safe and inclusive spaces. “Freedom of expression should not justify language that compromises a festival,” she says.
As the 2026 season begins, festival directors are urged to create “braver spaces” rather than just “safer” ones. The Sydney Writers’ Festival 2025 achieved record attendance under the theme In this Together, highlighting the need for uncomfortable conversations as a measure of a healthy democracy.
Financial and Legal Challenges
Adelaide’s experience highlights the financial vulnerability of festivals when state funding or major sponsorship is threatened. NSW Arts Minister John Graham acknowledges the need for cultural institutions to make Jewish communities feel welcome again, emphasizing that social cohesion should not come at the expense of creativity or bold programming.
In response, some organizations have imposed stricter codes of conduct to prevent reputational damage. However, literary festivals are urged to balance risk with the need for diverse perspectives and robust debate. Shand hopes that this year’s programming will reflect global developments, particularly in Gaza, and focus on reconstruction and reconciliation.
The collapse of Adelaide Writers’ Week serves as a stark reminder of the challenges facing Australia’s literary festivals. As directors navigate these turbulent waters, the need for spaces that foster open, respectful dialogue remains more crucial than ever.
