Press

APPEARANCES, INTERVIEWS & REVIEWS

 

Praise for Megan Ross

“Ross uses her considered prose to tell a story about the end of naivety, exoticism and otherness. Set in Thailand, ‘Farang’ is part travelogue, part coming-of-age tale, and beautifully encapsulates the awkward space one occupies in being an outsider in another country.”

— Short Story Day Africa

 

“One of the best African writers of the new generation.”
— Woke Africa

“‘Monstrous’, by Megan Ross (South Africa), is a compelling and harrowing exploration of post-natal depression and love.”
— The Jacana Literary Foundation

“Megan Ross’ ‘Eye Teeth’ (R5000 runner up) was my favourite. This is a lyrical psalm of recovery written from the worst type of betrayal. As we contemplate Women’s month, this story reminds one that the abuse all too frequently takes place in the home, by those we know and love. The reader is treated to a masterful insight into the artistry inherent in the process of creating tattoos. At a deeper level, this story is a rewriting of a trauma narrative by a narrator who reclaims the geography of her body, effecting both a re-imaging and a re-imagining of her past.”

— Liesl Jobson, Catalyst Magazine

 
 

KEVEL MOMMY FEATURE

 
 

The Lil-Lets Be You Campaign

 
 

Lil-Lets Be You Campaign

“Be You. Period was penned for Lil-Lets by local poet, Puno Selesho, who is featured in the video along with inspiring menstrual health rights activists including Nokuzola Ndwandwe (Team Free Sanitary Pads), Pontsho Pilane (author of Flow, founder of the Free to Bleed campaign), Farah Fortune (founder of The Pad Run), Lucy Khofi (founder of #RealTalkWithLucyKhofi), and Megan Ross (author of Milk Fever and lead responder on Lil-Lets Talk). The campaign also includes human rights activist, Regina Mary Ndlovu, and trans rights activist, Nino Ayanda Maphosa.”

ACCOLADES & PRESS:

Over 4.5+ million impressions
Winner of the Prism and Bookmarks awards
Ads of the World
Good Things Guy

 

IN HONOUR OF MATERNAL MENTAL HEALTH AWARENESS WEEK 2021, AN INTERVIEW WITH POPPY FROM POP THAT MUMMA PODCAST . YOU CAN LISTEN TO THE EPISODE HERE.

 
 

“The eye-catching cover for the anthology was designed by Megan Ross.”

 
 
 
 
 
 

“OTHER POETS WITHDRAW FROM THIS HEATED SPACE INTO MEDITATION, WHETHER RELIGIOUS OR EXISTENTIAL. IN THIS REGARD, MEGAN ROSS DOES NOT MERELY DEIFY MOTHERHOOD IN HER POEM, SHE ENGAGES A RE-PRESENTATION OF WHAT IS CENTRAL IN DIVINITY—CREATION, PROVIDENCE, AND NURTURE—AND INJECTS IT INTO MOTHERHOOD. IN ONE OF HER POEMS, GOD’S ESSENCE, ORTHODOXY, AND MYSTERY ARE DISSOLVED INTO A NEW UNDERSTANDING IN WHICH THEY BEGIN TO FUNCTION AS HUMAN AND PRIMARILY WOMAN.”

– OTOSIRIEZE OBI-YOUNG, BRITTLE PAPER

 
 
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Interviews & Features

 
 
 

"I’m inspired by natural shapes, but also the moods and ideas that plants convey: the sexuality of flowers, the alchemy in leaves turning sunlight into food. There’s chemistry and magic and beauty all at once." MAIL & GUARDIAN FRIDAY | KWANELE SOSIBO

 
 
 
 
 
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Events & Appearances

 
 
At Time of the Writer Festival in 2017 | DURBAN, KZN

At Time of the Writer Festival in 2017 | DURBAN, KZN

 
 
 
 
 
 
 
 
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Praise for Milk Fever

“In Milk Fever, Megan Ross has crafted a document of womanly scars. In her stunning debut, the poet examines the self, girlhood, motherhood, family archetypes, and the essence of the past that lives in memory. Ross’ voice is tender and meek in some places, overwhelming with power in others, but it is rich with vividly-detailed nostalgia and sings with recollection most often.”

– Logan February, readwildness.com

“Getting attuned with the complexities of poems such as ‘Origin Myths and the title poem is a treat for the reader in search of intense emotions: it is like spending a night in a jazz club, a sensual, transgressive, noisy but intimate space.”

— Raphael D’abdon, Stanzas

“I do think Ross is Plathian, not because she is a woman writing about the deeply personal with a great degree of angst (which she is), but rather because the two both have a similar gift for effective, hard hitting imagery, and a knack for making the personal universal; for connecting the things that happen to us as individuals with the great big cogs of history, science, culture and language.”

— Russel Grant in his review for Sunday Times Books Live, ‘One would be remiss to sleep on this collection’.

“Reading Megan Ross’ Milk Fever has been like delving into an ocean, of blood. The veins are rivers, heavy breasts pelt bullets, thick lips shun prayer, and the madness of cows and women alike bursts upward like the wild dandelion flower. Milk Fever helped me reconcile with the historicity as well the spiritual connections between women and cows—something Toni Morrison in Beloved incites as well.”

“Milk Fever is successful in the way it stages the myth of origin as well as a myth of return. Ross takes us through a journey in and out of the ocean’s surface—also read Female Body—without destabilising the desire for home or even an authoritative voice, because as Yvette Christianse writes in Imprendehora: “all the vanities will be laid low, even to the oceans floor”.

“Milk Fever is an explosion and a testament to how “the sun turns heavy into the sea” (30); and after reading it I too want to “open my notebook; savour the slow-ripening quiet, of a morning that is mine, a small freedom found” (68).”

— Mapule Mohulatsi in her review, ‘Megan Ross’s Milk Fever: An Intimate Meditation on Motherhood and the Female Body’ for BRITTLE PAPER

 
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