Asha Naznin

One summer night in December 2011, Asha landed in Canberra airport from London. On her way from the airport to her accommodation, Asha felt unexcited and unhappy: the weather was too dry; the moon in the sky didn’t look as big as it was promised to be in the Southern Hemisphere; people had gone on Christmas leave; the taxi driver played terrible music, and the city looked like a ghost town. She wished to return to London immediately thinking: ‘This is a place where perhaps no poets could ever be born’. Little did she know that five years later she would be known as the ‘Queen of Quirky’ poetry. A small island’s little girl someday would emerge as a big name in the literary scene of the capital of Australia.
Born and raised in Bangladesh, Asha wrote her first poem when she was an eighth grader (contrary to her loving Dad’s memory that it was when she was a fourth grader). Despite publishing many poems in local newspapers and even receiving awards in literary competitions, she never published a poetry book in her native country. Australia, a multicultural nation, which prides itself on its diversity, now proudly presents to the world Asha’s debut poetry book: Lover, Where Are Your Eyes?
Asha is a scientist and social scientist with two Bachelor degrees from the Australian National University: a Bachelor of International Security Studies and a Bachelor of Science. She also holds a MSc in Climate Change and Development from the Institute of Development Studies (IDS), University of Sussex, UK. She works in the cyber security industry. She also has experience working as an Advisory Board Member for the ACT government.
In her spare time, apart from poetry performances, Asha likes to pretend to be a fortune teller, a backyard singer and a relationship advisor. Rumour has it that her first piano teacher ran away due to her terrible sense of rhythm.

Author's books

Lover, Where Are Your Eyes?


‘This debut volume by Asha is crammed with rich and richly surprising poems, all of them characterised by sharp-edged observation, vivid images, and many a quirky turn of phrase. These poems take all that is familiar about lyric poetry, and lift it to a new plane of operation, in voice and presence, shifts of tone, close critique, and unexpected twists of humour. And whether the poems are about overwatering plants, anticipating another war, or sex parties held by cockroaches, they are infused with ethical sensibility, and always generous encounters with the perplexing things that come at one in everyday life.’
Jen Webb