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Foreign Soil by Maxine Beneba Clarke HACHETTE
2015 STELLA PRIZE SHORTLISTED TITLE Foreign Soil by Maxine Beneba Clarke HACHETTE ‘Wondrous as she seemed, Shu Yi wasn’t a problem I wanted to take on. Besides, with her arrival my own life had become easier: Melinda and the others hadn’t come looking for me in months. At home, my thankful mother had finally taken the plastic undersheet off my bed.’ Maxine Beneba Clarke, Foreign Soil INTRODUCTION TO THE TEXT suitable for study. A short synopsis and series of This collection of short stories won the Victorian reading questions are allocated for each story, along Premier’s Award for an Unpublished Manuscript in with any themes that are not included in the general 2013, and was subsequently published by Hachette list of the book’s themes below. Following this Australia. It went on to be critically recognised and breakdown are activities that can be applied to the appear on the shortlists for numerous awards. book more broadly. Like all of Maxine Beneba Clarke’s work, this ABOUT THE AUTHOR collection reflects an awareness of voices that are often pushed to the fringes of society, and frequently MAXINE BENEBA CLARKE is speaks to the experiences of immigrants, refugees and an Australian writer and slam single mothers, in addition to lesbian, gay, bisexual, poetry champion of Afro-Caribbean transgender and intersex people. In Foreign Soil, descent. She is the author of the Clarke captures the anger, hope, despair, desperation, poetry collections Gil Scott Heron is strength and desire felt by members of these groups, on Parole (Picaro Press, 2009) and Nothing Here Needs and many others. -
Master Copy 254 September
2003 LA TROBE UNIVERSITY/AUSTRALIAN BOOK REVIEW ANNUAL LECTURE The Meaning of Recognition Clive James HERE IS A DIFFERENCE between celebrity and recog- the journalists are now quite likely to call it, a phenomena. nition. Celebrities are recognised in the street, but Really, it is just a bore. But to know that, you have to be Tusually because of who they are, or who they are genuinely interested in the sort of achievement whose practi- supposed to be. To achieve recognition, however, is to be tioners you feel compelled to recognise in a more substantial recognised in a different way. It is to be known for what you way. The cure lies in that direction if it lies anywhere. have done, and quite often the person who knows what you have done has no idea what you look like. When I say I’ve hile we are waiting for the cure, I am quite content had enough of celebrity status, I don’t mean that I am sick of the to go on having my life distorted by my own small very idea. As it happens, I think that the mass-psychotic Wmeasure of celebrity, which has mainly come about passion for celebrity — this enormous talking point for those because my face was once on television. Your face doesn’t who do not really talk — is one of the luxurious diseases that have to be on television for long, and in any capacity, before Western liberal democracy will have to find a cure for in the you become recognisable not just to normally equipped peo- long run, but the cure will have to be self-willed. -
The Literary Studies Convention @ Wollongong University 7 – 11 July 2015
1 The Literary Studies Convention @ Wollongong University 7 – 11 July 2015 with the support of AAL, the Australasian Association of Literature ASAL, the Association for the Study of Australian Literature AULLA, the Australasian Universities Language and Literature Association The Faculty of Law, Humanities and the Arts School of the Arts, English and Media English and Writing Program University of Wollongong and Cengage Learning Maney Publishing The convention venues are Buildings 19, 20 and 24 of the University of Wollongong. The Barry Andrews Memorial Lecture and Prize-Giving will be in the Hope Lecture Theatre (Building 43) ** Please note that some books by delegates and keynote speakers will be for sale in the University of Wollongong’s Unishop in Building 11. Look for the special display for the Literary Networks Convention. 2 3 Barry Andrews Memorial Address: Tony Birch .......................................................................... 10 Keynote Address: Carolyn Dinshaw ............................................................................................. 11 Keynote Address: Rita Felski ......................................................................................................... 12 Dorothy Green Memorial Lecture: Susan K. Martin .................................................................. 13 Plenary Panel: Australia’s Literary Culture and the Australian Book Industry ....................... 14 Plenary Panel: Literary Studies in Australian Universities – Structures and Futures ........... 16 Stephen -
Laurie Duggan Was Born in Melbourne in 1949 and Currently Lives in Brisbane
Laurie Duggan was born in Melbourne in 1949 and currently lives in Brisbane. He has published eleven previous books of poems including The Ash Range, winner of the Victorian Premier’s New Writing Award, the second edition of which is republished by Shearsman Books simultaneously with this volume. His cultural history Ghost Nation: Imagined Space and Australian Visual Culture 1901-1939 was published in 2001. He is an Honorary Research Advisor at the Centre for Australian Studies, University of Queensland. East: Poems 1970-74 (1976) Under the Weather (1978) Adventures in Paradise (1982, 1991) The Great Divide, Poems 1973-83 (1985) The Ash Range (1987; 2nd edition, 2005) The Epigrams of Martial (1989) Blue Notes (1990) The Home Paddock (1991) Memorials (1996) New and Selected Poems, 1971-1993 (1996) Mangroves (2003) Ghost Nation (2001) Selected Poems 1971-2003 First published in the United Kingdom in 2005 by Shearsman Books 58 Velwell Road Exeter EX4 4LD http://www.shearsman.com/ ISBN 0-907562-61-2 Copyright © Laurie Duggan, 1971-2005. The right of Laurie Duggan to be identifi ed as the author of this work has been asserted by him in accordance with the Copyrights, Designs and Patents Act of 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Front cover illustration shows the author’s father (on the right) dressed for a part in a school Shakespeare production in the early 1920s. -
Almost Memories / Almost True Stories
Selected Prose of Dorothy Hewett edited and introduced by Fiona Morrison (University of Western Australia Press, 2011) Editor Fiona Morrison points to a certain tradition of collecting the prose of poets (4); this collection brings together the literary criticism, political essays and writing on theatre of Dorothy Hewett, never only a poet. While Hewett’s manifold achievements across diverse genres, especially poetry, have been well surveyed, her voice as a critic has remained historical, muffled by its scattered presence in small, even forgotten journals and magazines, and unavailable as a discrete body of work. Great affection remains for Hewett as a writer and figure, among her readers but also her witnesses, and this collection will find interest from many. Her trajectory, from young modernist to committed communist, to melodramatic apostate and then contrarian grande dame, can be traced in these pieces, and they are rich biographical resources for a commanding figure in Australian literature. But not only such – Hewett deserves to be read for her reach into Australian and international culture as a critic and commentator in her own right, and in her own changing times. Morrison has collected 32 pieces of Hewett’s non-fiction prose, of differing size, weight and amplitude, grouped into three nominated sections, organised chronologically. The first of these presents literary critical pieces, and begins with two from 1945, when Hewett’s poem ‘Testament’ had just won the ABC Poetry Competition and she was writing for Black Swan, the student magazine of the University of Western Australia. Two pieces of greater contrast are hard to find: one on the British modernist poet, eccentric and wit Edith Sitwell; the other on the recently published first volume of the goldfields trilogy completed by communist and West Australian Katharine Susannah Prichard. -
The Crimes That Rhyme Tom Clark
cPoetry ando Poetics r Review d i t ISSNe 1328-2107 poems by domonique grandmont seamus heaney dorothy hewett mtc cronin rod mengham js harry john tranter eric beach michael farrell john mateer zan ross arthur spyrou hugh tolhurst eugenio montejo james lucas michael heald alain bosquet luke davies nicolae prelipceanu trevor poulton joseph zaresky reviews by mark o’flynn dorothy hewett kathielyn job mtc cronin translations by ian patterson peter boyle the crimes rae sexton intereview that rhyme $ peter minter and philip salom 5 page 2 cordite Nº 2 contents PHILIP SALOM and Peter Minter CATH BARCAN intereview woman with gun front cover Philip Salom THE ROME AIR NAKED summer holidays, and I seemed to be doing the same thing, when in fact we were, and still are, very much a couple who man with beer back cover Penguin 1996, 134pp, $18.95. ISBN 0 14 058773 feel inseparable. And so on. Under these circumstances, ear and shell 6 n the July issue of the AUSTRALIAN BOOK REVIEW, given also that my previous year had been utterly disruptive, man and woman 23 Philip Salom writes about TH E RO M E AI R NA K E D I was ripe for writing. All the merging and blurring filled me. and his affinity for poetry which is both emotionally ERIC BEACH I I’m not sure if the concurrent poems, for example, would and sensually honest. Having recently won the looking back on th sixties 3 have happened, otherwise; everything led to that kind of Newcastle Poetry Prize with a moving and complex outbreak. -
Dancing on Coral Glenda Adams Introduced by Susan Wyndham The
Dancing on Coral Drylands Glenda Adams Thea Astley Introduced by Susan Wyndham Introduced by Emily Maguire The True Story of Spit MacPhee Homesickness James Aldridge Murray Bail Introduced by Phillip Gwynne Introduced by Peter Conrad The Commandant Sydney Bridge Upside Down Jessica Anderson David Ballantyne Introduced by Carmen Callil Introduced by Kate De Goldi A Kindness Cup Bush Studies Thea Astley Barbara Baynton Introduced by Kate Grenville Introduced by Helen Garner Reaching Tin River Between Sky & Sea Thea Astley Herz Bergner Introduced by Jennifer Down Introduced by Arnold Zable The Multiple Effects of Rainshadow The Cardboard Crown Thea Astley Martin Boyd Introduced by Chloe Hooper Introduced by Brenda Niall classics_endmatter_2018.indd 1 4/07/2018 5:20 PM A Difficult Young Man Diary of a Bad Year Martin Boyd J. M. Coetzee Introduced by Sonya Hartnett Introduced by Peter Goldsworthy Outbreak of Love Wake in Fright Martin Boyd Kenneth Cook Introduced by Chris Womersley Introduced by Peter Temple When Blackbirds Sing The Dying Trade Martin Boyd Peter Corris Introduced by Chris Wallace-Crabbe Introduced by Charles Waterstreet The Australian Ugliness They’re a Weird Mob Robin Boyd Nino Culotta Introduced by Christos Tsiolkas Introduced by Jacinta Tynan The Life and Adventures of Aunts Up the Cross William Buckley Robin Dalton Introduced by Tim Flannery Introduced by Clive James The Songs of a Sentimental Bloke The Dyehouse C. J. Dennis Mena Calthorpe Introduced by Jack Thompson Introduced by Fiona McFarlane Careful, He Might Hear -
Australian Elegy: Landscape and Identity
Australian Elegy: Landscape and Identity by Janine Gibson BA (Hons) Submitted in fulfilment of the requirements for the degree of (Doctor of Philosophy) Deakin University December, 2016 Acknowledgments I am indebted to the School of Communication and Creative Arts at Deakin University (Geelong), especially to my principal supervisor Professor David McCooey whose enthusiasm, constructive criticism and encouragement has given me immeasurable support. I would like to gratefully acknowledge my associate supervisors Dr. Maria Takolander and Dr. Ann Vickery for their interest and invaluable input in the early stages of my thesis. The unfailing help of the Library staff in searching out texts, however obscure, as well as the support from Matt Freeman and his helpful staff in the IT Resources Department is very much appreciated. Sincere thanks to the Senior HDR Advisor Robyn Ficnerski for always being there when I needed support and reassurance; and to Ruth Leigh, Kate Hall, Jo Langdon, Janine Little, Murray Noonan and Liam Monagle for their help, kindness and for being so interested in my project. This thesis is possible due to my family, to my sons Luke and Ben for knowing that I could do this, and telling me often, and for Jane and Aleisha for caring so much. Finally, to my partner Jeff, the ‘thesis watcher’, who gave me support every day in more ways than I can count. Abstract With a long, illustrious history from the early Greek pastoral poetry of Theocritus, the elegy remains a prestigious, flexible Western poetic genre: a key space for negotiating individual, communal and national anxieties through memorialization of the dead. -
Notes on Contributors, Index
Kunapipi Volume 20 Issue 3 Article 44 1998 Notes on Contributors, Index Anna Rutherford Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Rutherford, Anna, Notes on Contributors, Index, Kunapipi, 20(3), 1998. Available at:https://ro.uow.edu.au/kunapipi/vol20/iss3/44 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Notes on Contributors, Index Abstract NOTES ON CONTRIBUTORS, Index This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol20/iss3/44 Notes on Contributors 165 NOTES ON CONTRIBUTORS AI's books include the forthcoming Vice(new and selected poems) and Greed(1993). She has won many prizes, including a Guggenheim Fellowship and two NEA's. GILLIAN ALLNUTI has published four collections, Spitting the Pips Out (Sheba, 1981), Beginning the Avocado (Virago, 1987), Blackthorn (Bloodaxe, 1994) and Nantucket and the Angel (Bloodaxe, 1997). She is the author of Berthing: A Poetry Workbook (NEC/Virago, 1991) and co-editor of The New British Poetry (Paladin, 1988), and was formerly poetry editor of City Limits. She lives in Co. Durham. JOHN ASHBERY is Professor of English Literature at Bard College. He has been the recipient of the Pulitzer Prize, the National Book Award, and the National Book Critics' Circle Award. His most recent volume is Wakefulness. ANDY BROWN's recent poetry books are The Wanderer's Prayer (Arc 1999) and West of Yesterday (Stride, 1998). A selection appears in Vital Movement (Reality Street Editions, 1999). -
Vernacular and Middle Styles in Australian Poetry
Kunapipi Volume 3 Issue 1 Article 7 1981 Vernacular and middle styles in Australian poetry Mark Oconnor Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Oconnor, Mark, Vernacular and middle styles in Australian poetry, Kunapipi, 3(1), 1981. Available at:https://ro.uow.edu.au/kunapipi/vol3/iss1/7 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Vernacular and middle styles in Australian poetry Abstract It is generally recognized that there is a move at present towards the ver· nacular style in poetry; and it seems obvious that this bears some relation to the increasing literary confidence and national assertiveness of the sixties and seventies, and to the upsurge in other Australian art·forms, most notably film and drama. Undoubtedly there has been a change not only in the writers but in public taste. Readership or audience that wants the home product and the local theme is one of the phenomena that connect the new drama, the new films, and much of the new poetry and the new short stories. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol3/iss1/7 MARK O'CONNOR Vernacular and Middle Styles in Australian Poetry It is generally recognized that there is a move at present towards the ver· nacular style in poetry; 1 and it seems obvious that this bears some relation to the increasing literary confidence and national assertiveness of the sixties and seventies, and to the upsurge in other Australian art·forms, most notably film and drama. -
'Put on Dark Glasses and a Blind Man's Head': Poetic Defamation and The
CHAPTER 12 ‘Put on dark glasses and a blind man’s head’: Poetic defamation and the question of feminist privacy in 1970s Australia Nicole Moore The only successful defamation case ever run against poetry in Australia has at its centre a contest more precisely about changing definitions of privacy than of public reputation. Launched against Australian writer Dorothy Hewett by her former husband Lloyd Davies, the charge was not restricted to a single poem or piece of writing, nor to a single Australian jurisdiction, and in the first instance was scheduled to be heard by the High Court before being settled on legal advice. The multiplying offences and charges are best outlined in a narrative, clarifying the detailed roles of the various agents and actors in what became a high-profile cause célèbre in the late 1970s that ramified across Australia’s expanding culture industry. At stake was a highly gendered question about art’s access to the private sphere—its ability to represent intimate life acutely, even savagely—and then, more than this, about poetry’s ability to challenge legal measures of public truth. Stretching from 1969 into the early 1980s, notable dimensions of the case make it both exceptional and representative—a synecdoche for its times, in its conflicts and ambiguities, as well as a point of departure, in legal terms and in literary terms—in ways that illuminate transformative political and social change across the decade. 223 EVERYDAY REVOLUTIONS Second-wave feminist critiques of the legal concept of privacy can be seen to have arisen as part of attempts to break down gendered boundaries between the public and private spheres, which, in the long wake of first-wave feminism, targeted historical legal formations that subsumed women and children to a male political subject. -
Stories, Reviews, Poems, Articles
a quarterly review price one dollar registered at gpo perth for transmission by post as a periodical - Category '8' STORIES, POEMS, REVIEWS, ARTICLES westerly a quarterly review• EDITORS: Bruce Bennett and Peter Cowan EDITORIAL COMMI'ITEE: Bruce Bennett, Peter Cowan, Patrick Hutchings, Leonard Jolley, Margot Luke Westerly is published quarterly by the English Department, University of Western Australia, with assistance from the Literature Board of the Australia Council. The opinions expressed in Westerly are those of individual contributors and not of any member of the above Committee. Correspondence should be addressed to the Editorial Committee, Westerly, Department of English, University of Western Australia, Nedlands, Western Australia 6009 (telephone 80 3838). Unsolicited manuscripts not accompanied by a stamped self-addressed envelope will not be returned. All manuscripts must show the name and address of the sender and should he typed (double-spaced) on one side of the paper only. Whilst every care is taken of manu scripts, the Editorial Committee can take no final responsibility for their return; contributors are consequently urged to retain copies of all work submitted. Minimum rates for contributions -poems $7.00; prose pieces $7.00; reviews, articles $15.00; short stories $30.00. It is stressed that these are minimum rates, based on the fact that very brief contributions in any field are acceptable. In practice the Committee aims to pay more, and will discuss payment where required. Subscriptions: $4.00 per annum, plus postage (Australasia 80c per annum, Overseas $1.60 per annum); $7.00 for 2 years (postage Australasia $1.60, Overseas $3.20).