DOCSLIB.ORG

Write Away Nov 14

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Write Away Nov 14 Write Away Newsletter of the Society of Women Writers Victoria Inc. REG. NO. A0039632B NOVEMBER 2014 PP 381712/02477 From left to right: Beth Wunderlich, Betty Caldwell, Razmi Wahab, Tricia Veale, Janet Howie, Mary Jones (face hidden) Meryl Tobin, Lisa Kondor, Del Nightingale, Marguerite Kisvardai, Errol Broome and Agnes Chatfield. Introduction to Facebook with Blaise van Hecke Agnes Chatfield Reports At our October meeting, Blaise introduced us to Facebook, founded by Mark Zuckerberg in 2004. She took us through the stages of creating a personal profile and how to make the most use of the technology. Blaise said, ‘Face- book’s mission is to give people the power to share and make the world more open and connected.’ Blaise is co-owner and Publisher at Busybird Publishing. continued overleaf Society of Women Writers Victoria Inc. 73 Church Road Carrum VIC 3197 Literary Patron: Errol Broome President Committee Members Lynne Murphy Lisa Kondor Life Members: Dorothy Richards, [email protected] Mary Jones Barbara Warren, Errol Broome, Vice President Rebecca Maxwell Judy Bartosy & Dorothea Lavery Agnes Chatfield Blaise Van Hecke Yvonne Sweeney Treasurer Write Away is published monthly — Jennifer Leslie ShirleyWhiteway send articles, prose and comments for Postal Workshops Coordinator Membership Secretary publication by the 10th of each month Judith Green to the editor Judy Bartosy [email protected] Postal Workshops Editors Newsletter Editor Spring: Judith Green Jennifer Leslie Carpe Diem: Judith Green [email protected] Arianthe’s Thread: Patricia O’Keefe THE EDITOR’S LETTER THE PRESIDENT’S LETTER NOVEMBER 2014 Dear Members, It was heartening to receive positive feedback regarding the October issue of the Newsletter. Since a high standard has been reached it needs to be maintained and given all members are writers, that shouldn’t be a difficult expectation to realise. It has been pleasing to receive contributions for the November issue, the last one for 2014. I’ll take this opportunity to thank everyone who has contributed prose, poetry and articles to make the Newsletter an important part of the life the Society. Please send me your prose and poetry from the end of year competition to be published in the February issue, the first for 2015. In that issue there will be an interview with the economist, Saul Eslake about writing, economics and his favourite places. Thanks to Lynn Smailes for the timely and professional production of the Newsletter. Members please note: Dear Members, Copy Deadline 10th of each month Production 15th each month Please bring in your items for the Window Display at Ross House to the Christmas Meeting on 28 November Distribution 19th each month in the Sue Healy Room on the Mezzanine Floor beginning at 10 am. This is the last call as I will be dressing Please send (email) documents as Text Files. All photographs to be sent (emailed) separately in JPEG format. the window on Monday 1st December. A posse ad esse, The year seems to have passed so rapidly, particularly when I recall that the first Speaker for 2014 was Happy Christmas & New Year, charismatic Alan Attwood who again will be our first Speaker on March 27, 2015, on the subject of his Jennifer Leslie editorship of The Big Issue. Two of our own members have agreed to be presenters next year — Janet Howie will conduct a workshop on Haiku and Lin Van Hek will speak on Women Writers. The dates are not yet set. Email: [email protected] We have been lucky to have member Blaise Van Hecke conduct two workshops this year: in July ‘How to Edit your Work’ and in October ‘How to Place Items on Facebook’. Both of these workshops stirred interest among members and were well attended. Blaise is a dynamic presenter. Notes from Facebook Workshop In order to widen opportunities for our members who are at a workplace during weekdays and unable to attend continued from front page our Friday meetings, I am in the process of arranging Saturday workshops. These will run in partnership PERSONAL PROFILE: with the Fellowship of Australian Writers and will be held at the Masonic Hall, Brunswick. This venue Set up an account. Facebook makes it easy. is easily accessible by No.19 Tram, which runs up Elizabeth Street and along Sydney Road. The Masonic WHAT IS A Facebook PAGE? Hall is located in Davies Street, one street back (on the city side) from the Moreland Road tram stop. The It is a way for individuals, businesses, brands and organisations to share their stories and connect with people. buidling is located two doors from the intersection of Davies Street and Sydney Road. Suitable rooms there HOW IS A BUSINESS PAGE DIFFERENT FROM A PERSONAL PAGE? are much easier to hire and less expensive than we are used to paying and there is a good sized kitchen. The Personal profiles are for non-commercial use and represent individuals. If a person has designated their Profile as first Workshop — ‘Poetry with Kristen Henry’ is planned for Saturday 21 March. A further workshop on PUBLIC, you can follow their posts for updates. ‘Short Story’ is planned for May. TO ‘LIKE’ A PAGE: Remember! This is the year of our Australia-wide Biennial Literary Award. Workshops help sharpen the Click on LIKE, you can LIKE up to 5000 pages from various sources, a story, advertisement, video and so forth. brain. TO UNLIKE A PAGE: There is a change to the way the Christmas Competition is run! In answer to a plea to make the occasion less Click the name of the page on your news feed, or search for it, and select UNLIKE. formal and more fun, there are new rules. One entry per person can consist of a short, short story (one and INTERACTING WITH PAGES: a half A4 pages) — reading time THREE MINUTES — or a poem — reading time THREE MINUTES. Type your POST into the box, then TAG friends or locations. The author reads her work, or can designate another person to read it, the audience (consisting of other OTHER DIFFERENCES INCLUDE: authors and bystanders) gives points for each work presented. These are tallied at the finish and three mystery Groups and individuals can choose levels of privacy that suit their needs. prizes awarded. The theme is ‘Christmas’. PRIVACY AND REPORTING: Enjoy the holiday break, dear members! I know, after a while, you’ll get itchy fingers and start writing Facebook pages are for private and public consumption. You can choose whether to have the item private, for family interesting things to read out at the February Meeting 2015. and friends only, or to make it public. With the use of Facebook there are certain dangers, such as unwanted messages, spam, abuse, etc. However, an Best wishes ... unwanted post can be blocked or disabled. For more information about Facebook, go to the Society of Women Writers Victoria website and read or print Blaise’s presentation from Friday, 31 October 2014. Lynne Agnes Chatfield. November 2014 2 Write Away November 2014 Newsletter of the Society of Women Writers Victoria 3 This is a new development, isn’t it? Twenty-five years ago programs of this sort wouldn’t have been run by a public library. Yes and there’s a bit of history to it. In the UK there has always been a library in prisons program that was part of a philosophy of helping to better people but we didn’t have the same thing in Australia. Our prisoner’s program SWWV Editor Jennifer Leslie’s involves the Neighborhood House with us supporting it. Yes definitely, public libraries are totally different now to Interview with librarian and writer when I was a kid. When I was a child, librarians were invariably bookish, quite and serious. Women with buns but not now, I see. Fiona Baranowski Whoops! I think I have a bun today but that’s because I have outlandish hair that needs to be controlled. Just look around here, the staff are very out there and would seem shocking compared to librarians in the 1950s. Of course, you still see the ones who look like the stereotypical librarian but there’s less and less of them. Do you think a love of books is the main reason a person would choose to be a librarian or is that secondary now? I think it’s still there. We have staff who are not qualified, they’re floor staff and many of them are writers. Most staff are interested in reading and I think it would be disappointing if they weren’t. That said, looking around this library you can see technology happening and now people in IT work libraries. How long have you been working as a librarian? Technology has changed libraries but there are still the quiet people in the back room cataloguing. Twenty-five years! Goodness me! It seems one of the biggest changes is the noise factor, would you agree? When you started out, what was it like working in a library? Yes, once the library was a quiet place whereas now we all have to get on, rub up together with children running It was quieter then. I started working in a special library, attached to a research organisation so that was definitely around, babies crying and so on. I don’t cope with an overly noisy library. I try to be accommodating but insist as quiet. Not long after that, I got my first job working in a public library and it was quieter compared to now. the branch team leader that we have boundaries about behavior. Often I’ll be heard saying to children — ‘We’re not outside.’ I think some parents forget their children need to run around doing stuff outside instead of inside Apart from the noise level, what were the main differences between then and now? doing sedentary things all the time.
Load more

Recommended publications
  • Helen Garner's Monkey Grip and Its Feminist Contexts
    CHAPTER 8 ‘Unmistakably a book by a feminist’: Helen Garner’s Monkey Grip and its feminist contexts Zora Simic Helen Garner has written a book called ‘Monkey Grip’, about a woman called Nora who falls in love, passionately and most unwisely with a junkie. Hardly a ‘liberated plot’. Yet this is unmistakably a book by a feminist. Sue King, Vashti, 1978 For Sue King, writing in Vashti, the journal of Melbourne Women’s Liberation, Helen Garner’s book Monkey Grip (1977)—like some other critics, she stopped short of calling it a novel—was clearly a feminist read. Nora, she observed, is ‘not overtly “political” in the sense of working for political change on the macro level, or even consistently working out the politics of everything that happens to her’. Nor can she, as a denizen of a ‘rather strange sub-culture’ be properly described as an ‘everywoman’. Yet for King, Nora was also ‘clearly recognisable as a woman whose central identity is her own’. ‘It’s just so nice’, she enthused, ‘to read a story where no one is married or wants to be; where people may on occasion be jealous or dependent, yet feel no entitlement to do so’. King devoured the book in 24 hours, but while her review came with a strong personal recommendation, she did wonder whether anyone beyond ‘an arty little sub group’ would relate to it. She concluded on a note of uncertainty: ‘is this something we have to pass through on the way to … ?’1 1 Sue King, ‘Monkey Grip’, Vashti, no.
    [Show full text]
  • Single Motherhood As a Site for Feminist Reimagination in Helen Garner’S Monkey Grip and ‘Other People’S Children’
    Single Motherhood as a Site for Feminist Reimagination in Helen Garner’s Monkey Grip and ‘Other People’s Children’ JANE SCERRI UNIVERSITY OF WESTERN SYDNEY Introduction: Helen Garner: Breaking Down Old Structures … Historically Australian single mothers were vilified as ‘fallen’ and considered a ‘polluting influence’ and ‘a danger to [their] child[ren]’ (Swain 10). Contemporarily, as Emily Wolfinger (2016) observes, the dominant critique of single mothers has shifted from concerns about their morality to their ability to provide economically for their children, suggesting that contemporary conservatism prioritises the financial over the social. Garner’s single mothers in Monkey Grip (1977) and ‘Other People’s Children’ (1980) existed in a socially experimental milieu; one that denounced historical vilification and preceded the contemporary negative rhetoric of neoliberalism which characterises single mothers as economically irresponsible, non-working and a burden on society. This milieu, viewed retrospectively, provides a fertile space in which to reimagine and reframe contemporary single motherhood, especially if contemporary single mothers are to be again judged according to outdated ‘good’ mother myths1 reinforced by economic neoliberalism. In this way, a re-examination of Garner’s depiction of single motherhood, with its focus on domestic spaces and female concerns might reorient modern single mothers to a second-wave feminist style presumption of their ‘natural’ equal rights as women and mothers; bearing in mind that economic constraints, a major factor when contending agency, vary across class and time. I argue that single mothers, by virtue of their decampment from the nuclear family, debunk the myth of the ‘good’ mother, either by not adopting, or by abandoning, their traditionally othered position within it, and therefore evade at least some of the mythologised discourse by controlling and managing their own space.
    [Show full text]
  • Ms Helen Garner Helen Garner Is One of the Finest of Australian Writers
    Ms Helen Garner Helen Garner is one of the finest of Australian writers. She has written highly personal novels, created from life with an attention to detail and imaginative richness; and she has written essays, journalism and other non-fictional work that explore the complexities of reportage. She came to the University in 1961 from schooling at The Hermitage, Geelong, and completed an honours degree in Arts. After overseas travel she worked as a school-teacher in several Melbourne high schools, where her engagement in radical politics and especially the women’s movement found expression in her teaching. Helen Garner came to prominence as a novelist with Monkey Grip (1977), which was the first novel of its kind about alternative and inner urban life in Australia. Using a deliberate roughness of surface and design, it is a complexly shadowed novel about love and drug addiction, the two represented as alternative obsessions. Her next work, Honour and Other People’s Children (1980), turned to the quiet minutiae of everyday life, and established her as a realist writer with formidable powers of observation. The musicality of her technique is evident in the stories collected in Postcards from Surfers (1985) and reached its apogee in The Children’s Bach (1984), a novella of remarkable economy and precision. Subsequent works included Cosmo Cosmolino (1992) and The Last Days of Chez Nous (1993). The strength of Garner’s dialogue is highlighted by her two filmscripts: one for Jane Campion’s Two Friends and the other for Gillian Armstrong’s The Last Days of Chez Nous.
    [Show full text]
  • Considering the Gap Between Theory and Practice: Helen Garner and Things to Talk About Later
    University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 2016 Considering the Gap Between Theory and Practice: Helen Garner and Things To Talk About Later Jane Helen Scerri University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Scerri, Jane Helen, Considering the Gap Between Theory and Practice: Helen Garner and Things To Talk About Later, Masters of Creative Writing - Research thesis, School of Arts, English and Media, University of Wollongong, 2016.
    [Show full text]
  • Australian Cinema Umbrella Australian Cinema
    20152017 UMBRELLAUMBRELLA CATALOGUECATALOGUE AUSTRALIAN CINEMA UMBRELLA AUSTRALIAN CINEMA DVD DVD DCP DVD BD THE ADVENTURES OF BARRY MCKENZIE ANGEL BABY AUTOLUMINESCENT Reviled by the critics! This year marks the 20th Anniversary of this Containing a selection of rare footage and moving interviews Adored by fair-dinkum Aussies! landmark Australian Drama. with Rowland S. Howard, Nick Cave, Wim Wenders, Mick Harvey, Lydia Lunch, Henry Rollins, Thurston Moore, In this fan-bloody-tastic classic, directed by Bruce Beresford Winner of 7 AFI Awards, including Best Film, Best Director, Best Actor and Best Actress. Bobby Gillespie, and Adalita, AUTOLUMINESCENT traces (his first feature) Australia’s favourite wild colonial boy, the life of Roland S. Howard, as words and images etch Barry McKenzie (Barry Crocker), journeys to the old country Written and directed by Michael Rymer (Hannibal) and light into what has always been ‘the mysterious dark’. accompanied by his Aunt Edna Everage (Barry Humphries) starring Jacqueline McKenzie (Romper Stomper), John to take a Captain Cook and further his cultural and intellectual Lynch (In the Name of the Father) and Colin Friels (Malcolm), “ IF YOU MAKE SOMETHING THAT IS SO MAGICAL, SO UNIQUE education. this multi-award winning drama tells a tragic tale of love YOU WILL PAY THE PRICE... IT’S THE DEVIL’S BARGAIN.” between two people with schizophrenia as they struggle with LYDIA LUNCH life without medication. “ HEARTBREAKINGLY GOOD AND FILLED WITH A DESPERATE INTENSITY.” JANET MASLIN, THE NEW YORK TIMES FOR ALL ENQUIRIES REGARDING UMBRELLA’S THEATRICAL CATALOGUE umbrellaent.films @Umbrella_Films PLEASE CONTACT ACHALA DATAR – [email protected] | 03 9020 5134 AUSTRALIAN CINEMA BP SUPER SHOW DVD LOUIS ARMSTRONG One of the greatest musical talents of all time, Louis ‘Satchmo’ Armstrong raised his trumpet and delivered a sensational concert for the BP Supershow, recorded at Australia’s Television City (GTV 9 Studios) in 1964.
    [Show full text]
  • Everyday Revolutions: Remaking Gender, Sexuality and Culture In
    Everyday Revolutions Remaking Gender, Sexuality and Culture in 1970s Australia Everyday Revolutions Remaking Gender, Sexuality and Culture in 1970s Australia Edited by Michelle Arrow and Angela Woollacott Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760462963 ISBN (online): 9781760462970 WorldCat (print): 1113935722 WorldCat (online): 1113935780 DOI: 10.22459/ER.2019 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design and layout by ANU Press This edition © 2019 ANU Press Contents Contributors . vii 1 . Revolutionising the everyday: The transformative impact of the sexual and feminist movements on Australian society and culture . 1 Michelle Arrow and Angela Woollacott Everyday gender revolutions: Workplaces, schools and households 2 . Of girls and spanners: Feminist politics, women’s bodies and the male trades . 23 Georgine Clarsen 3 . The discovery of sexism in schools: Everyday revolutions in the classroom . 37 Julie McLeod 4 . Making the political personal: Gender and sustainable lifestyles in 1970s Australia . 63 Carroll Pursell Feminism in art and culture 5 . How the personal became (and remains) political in the visual arts . 85 Catriona Moore and Catherine Speck 6 . Subversive stitches: Needlework as activism in Australian feminist art of the 1970s . .. 103 Elizabeth Emery 7 . Women into print: Feminist presses in Australia . 121 Trish Luker 8 . ‘Unmistakably a book by a feminist’: Helen Garner’s Monkey Grip and its feminist contexts .
    [Show full text]
  • 1. WRITER IDENTITIES Sept 10 2016
    1 MELBOURNE LITERARY IDENTITIES Melbourne Writers and Bookshops Tour: http://melbournewalks.com.au/bookshops-and-writers-tour/ www.melbournewalks.com ; [email protected] ; Copyright Melbourne Walks © MONKEY GRIP – Writer Helen Garner I am an award winning Australian novelist, short-story writer, screenwriter and journalist. I wrote my first (and famous) book 'Monkey Grip' ) sitting under the Great Dome - the Reading Room at the State Library 328 Swanston Street before I went on to write many others . So many Australian writers have written books in that marvellous space - inspirational! ‘It was early summer. And everything, as it always does, began to heave and change. I fell in love with our friend Javo, the bludger…. ‘ LEESA LAMBERT - The Little Bookroom In 2015 I was the co-owner of The Little Bookroom, the oldest children’s bookstore in Australia started by Albert Ullin in 1960. You can often find my parents helping me out there. I had worked in the store and we decided to buy it when it came up for sale. I love encouraging childlike imaginations and helping to create pint-sized bookworms. There’s so much joy in having parents come in, knowing a few books from their childhood and just getting the kids addicted too. Melbourne has fantastic children’s writers. Go see our store at 5 Degraves Street to find the best of them.. KIRSTY MURRAY –Writer I am a Melbourne writer born in 1960 with over 18 books so far! I love my work as an Ambassador for the Victorian Premier's Reading Challenge. I have written many books for young people which have won many Australian awards.
    [Show full text]
  • Littoral Fictions: Writing Tasmania and Newfoundland
    LITTORAL FICTIONS: WRITING TASMANIA AND NEWFOUNDLAND by Fiona Margaret Polack B.A. (Hons) Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy University of Tasmania July,2002 r:::_ --~ t-- ;_~ l..__ I ~ c.- '-V'-"-...-a....-QA..:,. '""- ,.,.-") - L c G:: l ~->- - C'· f'-t ....o...------ .c'. ~- t /... .__ ,,.6 c_.."" This thesis contains no material which has been accepted for a degree or diploma by the University of Tasmania or any other institution, except by way of background information which is duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis. Fiona Polack This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Fiona Polack PhD Abstract: Littoral Fictions: Writing Tasmania and Newfoundland This thesis examines contemporary literary fiction which takes either the Canadian island of Newfoundland or the Australian island of Tasmania as its imaginative terrain. Utilising a comparative framework, it juxtaposes narratives which have helped construct these regional spaces during the last twenty-five years of the twentieth century. Informed by post-modern spatial theory, 'Littoral Fictions' is premised on the argument that places are produced, rather than simply reflected, in literary and other modes of cultural expression. Particularly important to the thesis are Michel de Certeau's assertion that 'every story is a travel story - a spatial practice' (The Practice of Everyday Life 115), and Fredric Jameson's contention that cultural and economic production are inextricably intertwined.
    [Show full text]
  • Fact and Fiction in Helen Garner's Monkey Grip and the Ps Are Room & Deepwater Alexandra Mcleavy University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2015 Let it be what it is: fact and fiction in Helen Garner's Monkey Grip and The pS are Room & Deepwater Alexandra McLeavy University of Wollongong Recommended Citation McLeavy, Alexandra, Let it be what it is: fact and fiction in Helen Garner's Monkey Grip and The pS are Room & Deepwater, Master of Creative Arts (Creative Writing) thesis, School of Law, Humanties and the Arts, University of Wollongong, 2015. http://ro.uow.edu.au/theses/4448 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] ! ! Let it be what it is:! fact and fiction in Helen Garner’s Monkey Grip and The Spare Room! &! Deepwater! ! ! ! ! ! Master of Creative Arts! (Creative Writing) ! at the University of Wollongong! ! Alexandra McLeavy (BA Hons.)! School of Law, Humanities and the Arts! 2015 "1 Certification! ! I, Alexandra McLeavy, declare that this thesis, submitted in fulfilment of the requirements for a Master of Creative Arts, in the School of Law, Humanities and the Arts at the University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged.! This document has not been submitted for qualifications at any other academic institution.! ! ! Alexandra McLeavy! 15 August, 2015 "2 Contents! ! Abstract!!!!!!!!! 4! Acknowledgments!!!!!!!! 5! Thesis!!!!!!!!!! 6! !Let it be what it is: fact and fiction in Helen Garner’s Monkey Grip ! !and The Spare Room! Bibliography!!!!!!!!! 74! Creative work!!!!!!!! 81! !Deepwater "3 ! Abstract! ! In literature, the line between fiction and real life is often seductively thin.
    [Show full text]
  • Articles and Author Movies, There Have Been So Few Major Publications on the Life and Works of Helen Garner
    07/02/2019 A new literary portrait of Helen Garner leaves you wanting to know more Academic rigour, journalistic flair A new literary portrait of Helen Garner leaves you wanting to know more May 2, 2017 9.06pm BST Helen Garner: her work frequently polarises readers. Nicholas Purcell Studio A new literary portrait of Helen Garner leaves you wanting to know more May 2, 2017 9.06pm BST How remarkable that, after some 40 years of books and essays, stories, articles and Author movies, there have been so few major publications on the life and works of Helen Garner. The National Library of Australia catalogue lists discussion notes; a study (in Mandarin) by Zhu Xiaoying; and Kerryn Goldsworthy’s excellent 1996 monograph. Bernadette Brennan’s A Writing Life goes a considerable way to filling out this slender collection. Jen Webb Director of the Centre for Creative and Brennan offers a detailed account of Garner’s writing life, tracing the influences and Cultural Research, University of Canberra obstacles; psychological and emotional affordances and constraints; her research and craft; and the critical and popular reception of her books. This is a valuable contribution about a major contemporary Australian writer who has delighted, infuriated, confused, charmed and frustrated readers, and whose experimental practice has galvanised ways of writing and thinking about writing. I arrived in Australia late in 1990 and, enrolling in a local university to study Australian culture, found myself in the unfamiliar waters of Australian fiction. The views offered by the lecturers and tutors on Australian writing, and its contexts, meanings and values, were fairly uniform until we reached Monkey Grip (1977).
    [Show full text]
  • M Ed Ia R Elea Se
    Recipients of Seeing Ourselves: Developing the Developer revealed Friday 17 March 2017: Sixteen creatives from across Australia have been selected to come to Sydney for the three-day intensive Developing the Developer workshop, designed to give professionals from diverse backgrounds greater access to the screen sector. “We know people from non-Anglo Celtic backgrounds, and those who identify as being LGBTQI or having a disability are all chronically under represented on our screens,” said Sally Caplan, Head of Production at Screen Australia. “It’s going to take the whole screen sector to work together to get to a place where the Australia we all experience in our day to day lives is actually represented on screen. For our part, Screen Australia is focussing on the early stages of creating a screen project – development.” “We want to work with the 16 successful Developing the Developer applicants to help them in enhancing their story development skills and to be equipped to work on projects page to screen. We want to empower these creatives with the knowledge of how to leverage the funding and networking opportunities available to them, so they can inject new ideas, perspectives and authentic stories into an industry that is ready for change, but needs new voices in story development to be able to drive this change.” Louise Gough, Development Executive at Screen Australia added; “When we first announced Developing the Developer, our hope was to have 10-12 solid workshop participants. We ended up receiving 89 applications and the standard was so high, we have extended the program to take 16 creatives.
    [Show full text]
  • The Spare Room Spare the Monkey Grip Monkey Year Old Students at Fitzroy High School"
    The Spare Room Helen Garner Author Background • Birth—7 November 1942 • Where—Geelong, Australia • Awards—National Book Council, South Australian Premier's Award, New South Wales Premier's Literary Award, Christina Stead Prize for Fiction, Walkley Award for Best Feature Writing, Nita Kibble Literary Award, Ned Kelly Awards, Melbourne Prize for Literature, Victorian Premier's Literary Awards, Vance Palmer Prize for Fiction, Queensland Premier's Literary Award, Barbara Jefferis Award Book Groups @ Blue Mountains Library Garner was born in Geelong, Victoria, the eldest of six children. She attended Manifold Heights State School, Ocean Grove State School and then The Hermitage in Geelong. She went on to study at the University of Melbourne, residing at Janet Clarke Hall, and graduating with a Bachelor of Arts with majors in English and French. Between 1966 and 1972 Garner worked as a high-school teacher at various Victorian high schools. During this time, in 1967, she also travelled overseas and met Bill Garner, whom she married in 1968 on their return to Australia. Her only child, the actor, musician and writer Alice Garner, was born in 1969, and her marriage ended in 1971. In 1972, she was sacked by the Victorian Department of Education for "giving an unscheduled sex-education lesson to her 13-year old students at Fitzroy High School". The case was widely publicised in Melbourne, bringing Garner a degree of notoriety. Garner married two more times: Jean-Jacques Portail (1980–85) and Australian writer Murray Bail (born 1941). She is no longer married. In 2003 a portrait of Garner, titled True Stories, painted by Jenny Sages, was a finalist in the Archibald Prize.
    [Show full text]