‘Ginnel... A clarity of language and a fine balance of thought and feeling... transformative.’ – Neil Astley


‘I loved ‘We had a little summer’ by Wes Lee. There are poems that seem to be hardly there at all but move the heart with the least amount of apparent effort.’ – George Szirtes


‘Sunflowers... a powerful poem, capturing the true horror of the protests in the Long Kesh incarcerations. A merciless, no-holds-barred poem with a final image almost out of a Francis Bacon painting.’ – Christopher North


‘Furniture... This is a very accomplished story that hides its sophistication beneath language that proceeds effortlessly. Sophisticated in its construction, persuasive in its telling, this story is in a class of its own.’ – Lloyd Jones


‘Two in the Morning... Your beautiful, impressionistic story was outstanding.’ – Barbara Trapido


‘Drowning with Garnet... After two lines I was hooked: Haunting, assertive and refreshing, taking me somewhere different without ever losing me. A bold piece of work.’ – Robyn Young


‘Wes Lee’s ‘Westerns’ topped the list. The style and the content and the plot – the secret history of a recovery - all worked together to create a tight, interesting story. Dreams rarely work in fiction, but this story proved an exception.’ – David Means


‘Wes Lee’s ‘This Moment Between Things’... I am looking for stories that take leaps of pure literary magic, working by a subliminal mysterious process, thus they are works of alchemy and discovery.’ – Kate Braverman


‘Postcard from Paris... A strong story at the cutting edge of things.’ – Ron Butlin


‘Crash Test Dummies & The Gardenia Girls... This is writing of high skill and insight, writing that knows a lot about life and about writing and knows that withholding is as vital as telling, writing that relishes control yet teeters on the brink of losing everything. Disturbing yet fruitfully so.’ – Michael Hulse


Soon You Won’t See Me... The finalists from this year’s Fish Publishing Short Story Prize were universally strong, and from these we have selected winners, we believe, of exceptional virtue.’ – David Mitchell & Carlo Gebler


‘Home Movies... Sometimes a story strikes the judge so forcefully that he or she has a sense that here is the winner even before all the others are considered. Wes Lee is an accomplished wordsmith.’ – Owen Marshall


‘Wes Lee’s ‘Tigers’ accomplishes a lot in a little time. A story so short has to move quickly and with precision... All the more affecting for its subtlety of tone and delivery.’ – Anthony Caleshu


‘Unimportant Things... For those who delight in flight and flutter, in lives as rapid as our own, in pulses that seem to momentarily exist beyond the need for hearts, these fine stories await and will be worth your time.’ – Toby Litt


‘Plush... From the opening lines I just knew I was going somewhere special.’ – Kate Rotherham


‘This Moment Between Things... A terrific story. How I love this piece – it’s really quite delightful – almost deceptive, the way it creeps up on you.’ – Louise Swinn


‘I have been reading your work over the past few weeks and I am now a big fan of your writing.’ – Francesca Main


‘Wes Lee’s ‘Saul’ explores death with a light touch. Its oblique examination of what it means to live and what it means to die is strikingly perceptive.’ – Diane Stubbings (Canberra Times)


‘Afterlife... a gorgeous story.’ – Geoff Lemon


‘Tigers... a wonderful story that dances confidently along that tricky line between telling too much and telling too little. This is very fine writing. It made me envious and it made me cry.’ – Sue McCauley


‘Like the very best of funny stories, Wes Lee in ‘Advent’, set up a wonderful scenario, and let the humour emerge not through jokes, or witty repartee, but through the situation itself.’ – Sue Orr


‘Deftness and pace, plus a powerful emotional content distinguished ‘Ciao Bella’. I was impressed by the allusive, controlled and almost bleak lyricism of the writing.’ – David Hill


‘I was very impressed by ‘Postcard from Paris’... complex, sexy, tragic. Europe was beautifully evoked.’ – Carl Nixon


‘Surgery Dog... is driven and intense. The image of the dog is shocking, and the last line not only surprised me but told me something new about the experience of surgery.’ – Pascale Petit


‘Deliverance... impressed with its film-noir edge and poignant gestures to what passes for intimacy in the modern age. It’s a story that lingers long in the mind.’ – Biscuit Publishing


‘Wes Lee’s ‘The Joy Chair Shockers’... I chose the final stories because they are wonderful. Because they lifted me to heights of understanding, because they pushed me into those dark places where only writers and mad people go.’ – Amanda Le Bas De Plumetot


‘I really loved ‘Montauk’ – it was such an original and beautiful piece of writing.’ – Kalinda Ashton


Marvellous work.’ – Vanessa Gebbie


‘Artworld horror and horror of art in the fury of Furious Type.’ – Tim Jones


‘These Last Desires by Wes Lee... fine writing and satisfying construction.’ – Graham Beattie


‘Of the five stories in Cowboy Genes, three struck me: Diseases from Space, The Gardenia Girls, and especially Crash Test Dummies. If you are weary of cheap cynicism being passed off as profundity, you’ll feel great empathy for Victor, the central character of this story, who yearns for things that are life-changing, life-affirming.’ – Jim Greenhalf


‘Farm... a thoroughly imagined piece of writing.’ – Dr. Jack Ross


‘Sand... tonally satisfying and nicely underplayed.’ – Harvey Molloy


‘Cowboy Genes... Powerful, dynamic short stories.’ – Alex Hopwood


‘Outside the window the wild world still calls... The prizewinning poems stood out especially because they had that special gift of being able to create their own imaginative universes. The were poems that felt almost hermetically sealed, complete in their structures and images and sounds and rhythms, poems that were in love with language: they felt in a strange way as if they had always been written. But they also took risks, formal risks, imaginative risks, and risks of feeling.’ – Deryn Rees-Jones


‘Recovery Room... Powerful poems of witness and survival.’ – Amy Wack


‘Glass Eye... a beautifully observed child’s eye portrait of a grandfather.’ – Hannah Lowe


‘Cowboy Genes... In Wes Lee’s beautiful collection of short fiction, the shadow of death looms.’ – Michael Stewart


‘I really loved Thirsty... an original, funny, and clever story. There’s so much you could teach about honouring one’s own unique voice.’ – Laurie Steed

‘Shooting Gallery...‘The body is where you begin’ could be a tag for this whole book of short sharp poems that knock against your skull. There’s a woman living in a car, there’s a clown living in you, there’s a couple living in a barn with a dog and a boar, there’s a memory living in a hotel, there’s a self living in a mirror ... A book stuffed with tough stuff.’ – Murray Edmond


‘Shooting Gallery is stunning. The poems are assured, brave, and many have already been published in a wide array of NZ and international journals... The body is prime. And although throughout the collection pain and indignity are often a given, there is also a glorying in the physical, the sensual; there is verve, and poems that punch the air celebrating survival... It is striking that in these poems, no one is judged. The first thing that Wes Lee concerns herself with in Shooting Gallery is the humanity of each person. Here, the last shall be first, and she ensures that, in this marvellous collection, we know why this should be the case.’Carolyn McCurdie, Takahē Magazine

‘Body, Remember... Amazing poems... very powerful.’- Rosanna Hildyard

‘Wes Lee's beautiful, sobering collection gives a skeleton upon which to hang the intangible. It speaks to transience, to trauma, to the inevitability of time passing.’ – S. J. Bradley

In Body, Remember, Wes Lee catalogues a ‘domino of broken things’ with deft poignancy and dark humour. She draws our attention to the fact, that even as we read and breathe, our bodies are in a state of breaking.’ – Michael Stewart 


‘Combines an oblique narrative with poignant emotion.’ – The Overton Poetry Prize 2017