The Bendigo Writers Festival (BWF) was meant to kick off three days of conversation, debate and big ideas this month. Instead, it found itself at the centre of one of the most dramatic mass withdrawals in Australian literary festival history.
So, what went wrong?
The email that sparked it all
Just two days before the festival opened, participating authors and speakers received a one-page code of conduct. The document told writers to “avoid language or topics that could be considered inflammatory, divisive, or disrespectful”. Those appearing on panels sponsored by La Trobe University were also asked to comply with the university’s anti-racism plan, which includes the contentious Universities Australia definition of antisemitism adopted earlier this year.
While phrased as a precaution, the timing and wording of the code quickly backfired. Writers say they felt blindsided by what looked like a last-minute attempt to limit discussion about Israel and Palestine – a topic many had intended to speak on.
The withdrawals begin
By Thursday evening, high-profile participants such as Palestinian Australian author and academic Dr. Randa Abdel-Fattah and Goorie poet Dr Evelyn Araluen had pulled out, citing censorship concerns.
Abdel-Fattah shared her withdrawal letter on Instagram, writing, “At a time when journalists are being permanently silenced by Israel’s genocidal forces, it is incomprehensible that a writers’ festival should also seek to silence Palestinian voices.”
Within 24 hours, the numbers snowballed. By Friday afternoon, around 30 participants had withdrawn, including respected authors like Prof Clare Wright, Paul Daley, Thomas Mayo, Jock Serong, and Jess Hill. The impact was immediate — the opening night address was cancelled.
By Monday, the festival confirmed to Guardian Australia that 53 participants had pulled out, forcing the cancellation of 22 sessions – including the closing ceremony.
“The Festival and Presenting Partner, La Trobe University, felt it was necessary to emphasise the importance of safety and wellbeing for all participants by introducing a Code of Conduct,” said a festival spokesperson to PEDESTRIAN.TV.
“It was intended to be a useful reference point to guide expectations for respectful discussion, particularly when exploring past and current challenging, distressing and traumatic world events.
“It was never intended to silence anyone, but rather to allow discussions to happen while ensuring the safe participation and inclusion of everyone.
“For those participants who chose to withdraw, we respect their decision.”
A La Trobe University spokesperson said the university is “deeply embedded with the diverse and multicultural communities we serve, and we are committed to advancing an inclusive and respectful culture, which includes addressing racism and all forms of discrimination”.
“Both the Bendigo Writers Festival organisers and La Trobe agreed to issue a code of conduct to promote the respectful exchange of views and ensure community safety. We acknowledge the decision by many authors to withdraw from the Festival,” the spokesperson told PEDESTRIAN.TV.
“La Trobe regularly reviews its processes and planning around its public engagement activities, and similarly we will review all aspects of the planning for and delivery of the Bendigo Writers Festival.”
“A vote of no confidence”
The backlash wasn’t limited to individual writers. Rosemary Sorensen, the founding director of the festival, described the code of conduct as an “authoritarian abuse of power” in The Age. Author Claire G Coleman called it “condescending and insulting” in a letter she shared on Instagram.
University of Melbourne lecturer Samuel Cairnduff summed up the walkout as “a vote of no confidence in institutional leadership that has forgotten why it exists”, via his Substack.
The unions also weighed in. In a joint media release, the National Tertiary Education Union (NTEU) and the Media, Entertainment & Arts Alliance (MEAA) said the code risked silencing legitimate debate. NTEU National President Dr Alison Barnes argued, “It’s especially galling that La Trobe University management has used its role as a sponsor of the festival to stifle academic freedom and freedom of expression – the very principles universities are built on.”
MEAA Acting Chief Executive Adam Portelli added, “MEAA supports creative and media workers’ right to freedom of expression, even when uncomfortable or inconvenient.
“These workers deserve the freedom to express opinions without fear of being silenced or censored.”
Was this outside pressure?
Speculation also grew after Deep Cut News revealed that a pro-Israel lobby group, the Australian Academic Alliance Against Antisemitism (5A), had written to La Trobe and the festival in July urging action over Abdel-Fattah’s inclusion. The group labelled her a person who “perpetually dehumanises people who hold Zionist views”.
Neither La Trobe nor the festival confirmed whether this influenced the code of conduct.
The bigger picture
The Bendigo controversy follows a series of cultural flashpoints in Australia, where Palestinian artists and voices have become lightning rods for debate. Earlier this year, artist Khaled Sabsabi was sacked – then reinstated – as Australia’s Venice Biennale representative. The First Nations author K A Ren Wyld had a government-funded fellowship stripped after voicing support for Palestine.
Similar fights have played out in the performing arts, from actors wearing keffiyehs on stage at Sydney Theatre Company, to pianist Jayson Gillham taking the Melbourne Symphony Orchestra to court after his concert was cancelled over his comments on Gaza.
Where does this leave Bendigo?
For now, the festival has promised to review what happened. A spokesperson said the code was designed “to allow discussions to happen while ensuring the safe participation and inclusion of everyone”.
But reputationally, the scars are deep. What was meant to be a celebration of literature turned into a case study in how quickly trust between festivals and artists can collapse.
Lead Image: Bendigo Writers Festival
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