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Independent Scholar Shivaun Plozza the Troll Under the Bridge
Plozza The troll under the bridge Independent scholar Shivaun Plozza The troll under the bridge: should Australian publishers of young adult literature act as moral-gatekeepers? Abstract: In the world of Young Adult Literature, the perceived impact of certain texts on the moral, social and psychological development of its readers is a cause for debate. The question ‘what is suitable content for a pre-adult readership’ is one guaranteed to produce conflicting, polarising and impassioned responses. Within the context of this debate, the essay explores a number of key questions. Do publishers have a moral obligation to avoid certain topics or should they be pushing the boundaries of teen fiction further? Is it the role of the publisher to consider the impact of books they publish to a teenage audience? Should the potential impact of a book on its reader be considered ahead of a book’s potential to sell and make money? This article analyses criticism and praise for two ‘controversial’ Australian Young Adult books: Sonya Hartnett’s Sleeping Dogs (1997) and John Marsden’s Dear Miffy (1997). It argues that ‘issues-books’ are necessary to the development of teens, and publishers should continue to push the envelope of teen fiction while ensuring they make a concerted effort to produce quality, sensitive and challenging books for a teen market. Biographical note: Shivaun Plozza is a project editor, manuscript assessor and writer of YA fiction. Her debut novel, Frankie, is due for publication by Penguin in early 2016. She has published short stories, poetry and articles in various journals, both online and print, and has won numerous awards and fellowships. -
Bwf.Org.Au Brisbane Writers Festival 2019 This Way
Thursday, 5 September–Sunday, 8 September 5 September–Sunday, Thursday, BOOK NOW bwf.org.au Brisbane Writers Festival 2019 this way Join the Conversation humanity #bwf19 Contents 1 2 3 4 Thank you to A message from A message Ticket our partners the Minister for from the information the Arts Artistic Director 6 7 8 9 Special Angel's Tirra Lirra Meet the Events Palace by the River Author 10 26 27 28 Program Love YA Free Events BWF in for Families Your Suburb 30 32 34 35 Events for Writers Timetable Getting to BWF Team the Festival and Board Brisbane Writers Festival Thanks its Supporters Government Partners Proudly supported by Major Partner Home of Brisbane Writers Festival Cultural Partner Supporting Partners Media Partners Marketing Partners Hospitality Partners Program Partners Consulate of Canada, Kindred: 12 Queer #LoveOzYA Stories, Queensland Writers Centre, Griffith Review, A Spectrum Connected and Inala Wangarra Providing Partners Grassroots IT and PKF Hacketts BWF acknowledges the generous support of our donors, with special thanks to the Taylor Family. We are a not-for-profit organisation and rely on the generosity of donors and partners to support our aim of bringing stories to life in Queensland communities. Brisbane Writers Festival is supported by the Queensland Government through Arts Queensland. Brisbane Writers Festival is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. 1 Brisbane Writers Festival 2019 Welcome to Brisbane Writers Festival Welcome to Brisbane Writers The genuine sharing and receiving Festival 2019, one of Australia’s of our unique stories give us the leading literary events, celebrating tools to unpack information and the power of words through make sense of our ever-changing exceptional experiences that inspire, world. -
Different Drummers
Special Issue: Different Drummers March/April 2013 Volume LXXXIX Number 2 ® Features Barbara Bader 21 Z Is for Elastic: The Amazing Stretch of Paul Zelinsky A look at the versatile artist’s career. Roger Sutton 30 Jack (and Jill) Be Nimble: An Interview with Mary Cash and Jason Low Independent publishers stay flexible and look to the future. Eugene Yelchin 41 The Price of Truth Reading books in a police state. Elizabeth Burns 47 Reading: It’s More Than Meets the Eye Making books accessible to print-disabled children. Columns Editorial Roger Sutton 7 See, It’s Not Just Me In which we celebrate the nonconforming among us. The Writer’s Page Polly Horvath and Jack Gantos 11 Two Writers Look at Weird Are they weird? What is weird, anyway? And will Jack ever reply to Polly? Different Drums What’s the strangest children’s book you’ve ever enjoyed? Elizabeth Bird 18 Seven Little Ones Instead Luann Toth 20 Word Girl Deborah Stevenson 29 Horrible and Beautiful Kristin Cashore 39 Embracing the Strange Susan Marston 46 New and Strange, Once Elizabeth Law 58 How Can a Fire Be Naughty? Christine Taylor-Butler 71 Something Wicked Mitali Perkins 72 Border Crossing Vaunda Micheaux Nelson 79 Wiggiling Sight Reading Leonard S. Marcus 54 Wit’s End: The Art of Tomi Ungerer A “willfully perverse and subversive individualist.” (continued on next page) March/April 2013 ® Columns (continued) Field Notes Elizabeth Bluemle 59 When Pigs Fly: The Improbable Dream of Bookselling in a Digital Age How one indie children’s bookstore stays SWIM HIGH ACROSS T H E SKY afloat. -
Sonya Hartnett Author of the Children of the King HC: 978-0-7636-6735-1 • E-Book: 978-0-7636-7042-9 272 Pages • Age 10 and Up
A conversation with sonya hartnett author of the Children of the King HC: 978-0-7636-6735-1 • E-book: 978-0-7636-7042-9 272 pages • Age 10 and up Q: You start with a scary opening scene. If I hadn’t been told that this was a “mild ghost story,” I might not have gotten past it. Some of your other writing can be very unsettling. What made you decide that this story would be more mild? A: Questionsofmildnessnevercameintoit.Anideacomestoyou,anditbringswithititsown spirit—someareeerie,somearequiet,someareloud,someareslinky,somearestrange.Iknew thiswouldbeastoryforchildrensetduringthewar.Theagegroupcreatescertainlimitsaround whatyoucanandcan’twrite.IneverthoughtofitasbeingaghoststoryasIwroteit,soIdidn’t spendanytimemakingtheboysscary.Iwantedthemtobeabletobemistakenforrealchildren bythereader,soIkeptalidontheirscariness.Theopeningsceneis,I’mtold,alittlescary.Ithink abookshouldstartwithabang,andsothesceneisakindofbang.IusedtoplayMurderinthe Darkasakid;itterrifiedme.Iplayitwithmydogsometimes;itstillterrifiesme. Q: What inspired you to write the story-within-the story, weaving the tale of a family evacuating from London to a country estate during World War II with the mystery of the missing princes, nephews of King Richard? How do those two elements, World War II and the mystery of the princes, resonate for you, if they do? A: I’vealwaysbeeninterestedinthestoryofRichardandtheprinces,andI’vealludedtoitafew timesinvariousnovels,butIalwayswantedtowritesomethingmoresubstantialaboutit—to reallylookinsidethecharacters’heads.I’vealsoalwaysfoundthewholeevacuationsagatobe -
Novel, Suburb, Cosmos
The View from Above from Below: Novel, Suburb, Cosmos Brigid Rooney HROUGH CONVERGENT TECHNOLOGIES OF CAMERA AND FLIGHT, THE VIEW FROM ABOVE directs the opening chapter of The Australian Ugliness (1960), Melbourne- T based Robin Boyd’s famous critique of urban and suburban aesthetic forms. By 1960, such aerial vision was nothing new, but the arrival in 1956 of the Boeing jet meant air-travel was about to eclipse the sea voyage, conquering what Australian historian Geoffrey Blainey famously termed ‘the tyranny of distance’, and ushering in the era of mass tourism. This development naturalised and popularised an aesthetics of panorama that also organises the representation of suburbia. Boyd re-stages the aerial view successively. The visitor’s first approach to Australia is from the north. Moving from Darwin to Bourke, the visitor crosses over country ‘burnt brown and patchy, like a tender sunburnt skin, with sections of darker brown and blood red and blisters of lighter ochre’; his camera-eye view takes in the ‘red backland of Australia’ which ‘looks from the air satisfyingly like its own maps’ (Boyd 18). The arrival of Boyd’s hypothetical visitor, as noted, is staged twice, in the second instance tracking the plane’s approach ‘from across the Pacific’ over 1950s pre- Opera-House Sydney. From the long high view, urban Australia presents a vision of ‘continuity, unity and the promise of comfort in the mushroom roofs and the bright background of tended green’. Momentarily, suburban sprawl figures the ‘love of home’, with ‘great speckled carpets spread wide around every © Australian Humanities Review 60 (November 2016). -
Senate Submission
Committee Secretary Senate Legal and Constitutional Affairs Committee Jacinda Woodhead Editor, Overland magazine VU – Footscray Park Campus PO Box 14428 Melbourne VIC 8001 17 July 2015 Dear Committee Secretary and Members, I edit one of Australia’s oldest literary magazines, Overland, founded in 1954 by Stephen Murray-Smith. Overland has a long and distinguished history, and it’s list of published authors reads like a catalogue of influential Australian writers, from Patrick White, Frank Hardy and Dorothy Hewett to Peter Carey, Alexis Wright and Christos Tsiolkas. Overland’s mission is to foster new, original and progressive work exploring the relationship between politics and culture, especially literature, and to bring that work to as many people as possible. In its sixty-first year of publication, Overland continues to be artistically vibrant, making significant contributions to Australian cultural life on a daily basis. Much of Overland’s current success has been enabled by the infrastructure the organisation has been able to build over the years through subscriber, philanthropic and government support, including the critical funding the Australia Council has offered the magazine at the various stages of its existence. Overland publishes four print issues of 96 pages a year, each edition consisting of original fiction, poetry, nonfiction and artwork of the highest standard. Recent editions have included work by Germaine Greer, Cate Kennedy, Rodney Hall, Alexis Wright, Christos Tsiolkas and Alison Croggon. Overland is also committed to finding new talent: writers whose early work featured in the journal include Nam Le, Jennifer Mills, Stephen Amsterdam, Ali Alizadeh, Maxine Beneba Clarke, Anwen Crawford (who has started recently writing for the New Yorker) and artist Megan Cope. -
QUT Digital Repository
QUT Digital Repository: http://eprints.qut.edu.au/ Muller, Vivienne (2008) Lost children and imaginary mothers in Sonya Hartnett's "Of a Boy". Hecate, 34(1). pp. 159-174. © Copyright 2008 please consult the author. Lost children and imaginary mothers in Sonya Harnett’s Of A Boy In Powers of Horror, Julia Kristeva writes about lost children.1 These are what she calls ‘dejects’, 2 who, in the psychodrama of subject formation, fail to fully absent the body of the mother, to accept the Law of the Father and the Symbolic, and subsequently to establish ‘clear boundaries which constitute the object-world for normal subjects’.3 Dejects are ‘strays’ looking for a place to belong, a place that is bound up with the Imaginary mother of the pre-Oedipal period. Kristeva’s sketch of the deject as one who is unable to negotiate a proper path to the Symbolic is useful to a reading of Hartnett’s Of A Boy (2002)4, a novel that also deals with lost children and imaginary mothers. However in its portrayal of children who are doomed to never achieve adulthood, Of A Boy enacts a haunting retrieval of the pre-Oedipal from the dark side of phallocentric representation, privileging the semiotic (Kristeva’s concept) and the maternal as necessary disruptive checks on a patriarchal Symbolic Order. In reading the narrative in this way, this essay does not seek to foreclose on other interpretations which may more fully illuminate the material and historical contexts in which Hartnett’s stories of abandoned and lost mothers and children are activated. -
Publications for Brigid Rooney 2020 2019 2018 2017 2016 2015 2014
Publications for Brigid Rooney 2020 Australian Print Cultures and Modernity' by David Carter. Rooney, B. (2020). Stream System, Salient Image and Feeling: Southerly, 27(1), 174-181. Between Barley Patch and Inland. In Anthony Uhlmann (Eds.), Rooney, B., Olubas, B. (2015). Australian Literature / World Gerald Murnane: Another World in This One, (pp. 63-84). Literature: Borders, Skins, Mappings. JASAL, 15(3), 1-5. <a Sydney: Sydney University Press. <a href="http://www.nla.gov.au/openpublish/index.php/jasal/article href="http://dx.doi.org/10.2307/j.ctvx5w926.11">[More /view/4116/4753">[More Information]</a> Information]</a> Rooney, B. (2015). Serial Cities: Australian Literary Cities and 2019 the Rhetoric of Scale. Cultural Studies Review, 21(1), 262-282. <a href="http://dx.doi.org/10.5130/csr.v21i1.4345">[More Rooney, B. (2019). Interior History, Tempered Selves: David Information]</a> Malouf, Modernism, and Imaginative Possession. In Richard Begam,Michael Valdez Moses (Eds.), Modernism, Rooney, B. (2015). Time and Its Fellow Conspirator Space: Postcolonialism, and Globalism: Anglophone Literature, 1950 Patrick White's 'A Fringe of Leaves'. In Ian Henderson, to the Present, (pp. 258-276). New York: Oxford University Anouk Lang (Eds.), Patrick White Beyond the Grave: New Press. <a Critical Perspectives, (pp. 163-177). London: Anthem Press. <a href="http://dx.doi.org/10.1093/oso/9780199980963.003.0013" href="http://www.anthempress.com/patrick-white-beyond-the- >[More Information]</a> grave">[More Information]</a> 2018 2014 Rooney, B. (2018). Suburban Space, the Novel and Australian Rooney, B. (2014). "No-one Had Thought of Looking Close to Modernity. -
Colonising Time, Recollecting Place: Steven Carroll's Reinvention Of
Colonising time, recollecting place: Steven Carroll’s reinvention of suburbia BRIGID ROONEY University of Sydney Australian suburbs—like suburbs elsewhere1—are attracting renewed scholarly attention during the latest phase of urban transformation. As work by Fiona Allon (2008), Amanda Wise (2010) and others shows, the lived experience, spatial contours and cultural demographics of contemporary suburbia are in flux. It is no coincidence that representations of suburbia are also changing in character and detail, as seen in recent literary fiction. Christos Tsiolkas’s The Slap (2008), for instance, reinvents suburban terrain precisely through its engagement with Australia’s diversifying demography and changing urban/suburban modes, in turn conditioned by global capitalism’s fluid and precarious present, in what Zygmunt Bauman influentially terms ‘liquid modernity’ (Bauman 1-15). Yet literary critics and scholars of Australian literature are yet to move far from what has been, since the 1990s, a governing focus on an anti-suburban literary tradition. Critics have used ‘pro- or anti-suburbia’ as the key—if not sole—rubric for reading fictions of suburbia. Conditioned by the fiction itself, this approach was influentially introduced by Robin Gerster (1990), theoretically honed by Andrew McCann and others (1997; 1998), and continues into the present, albeit with modification and updating (Burns; O’Reilly). Fictions of postwar suburbia depicting the entrapment or flight of their protagonists are routinely read as anti- suburban, as a function of cosmopolitan habitus or artistic elitism. Even such an elusive work as David Malouf’s Johnno (1975) has been positioned as anti-suburban:2 there has been no escaping the dominance of this paradigm. -
Locating the Gothic in Four Australian Novels
‘No storied windows, richly dight’: Locating the Gothic in Four Australian Novels An Exegesis Accompanying ‘Twigs from a Hedge in Winter: an Australian Gothic Novel’ Henry Ashley-Brown Submitted as part of the requirement for the Degree of Doctor of Philosophy Discipline of English School of Humanities The University of Adelaide South Australia August, 2009 Abstract After completing the first draft of ‘Twigs from a Hedge in Winter’, I discovered that my novel contained several elements that placed it within the Gothic genre. Wanting to account for how this happened, I decided to research the genre. In this exegesis I pose the following questions: what defines the Gothic genre and what are the Gothic elements in arguably the world’s first example, Horace Walpole’s The Castle of Otranto. I ask if these can be traced in early Australian literature through to Elizabeth Harrower’s The Watch Tower, Elizabeth Jolley’s The Well and Sonya Hartnett’s Surrender. I examine how my novel is situated within the context of the genre in Australia and account for how my original draft came to display Gothic elements. I also note the adjustments I made to enhance some of these elements in ‘Twigs from a Hedge in Winter’. The words that comprise the title of my novel were uttered in the Old Bailey in eighteenth-century London, when Jack Cooper was sentenced to transportation for life for stealing twigs from a hedge to keep warm in winter. The hedge was on the common land that Jack’s family had owned before Judge Christian Wilson enclosed it, leaving the Coopers to fend for themselves. -
Guía De Libros Recomendados Para Niños Y Jóvenes 2014
Un niño a solas con sus libros es, para mí, la verdadera imagen de una felicidad potencial, de algo que siempre está a punto de ser. Un niño, solitario y con talento, utilizará una historia o un poema maravillosos para crearse un compañero. Ese amigo invisible no es una fantasmagoría malsana, sino una mente que aprende a ejercitar todas sus facultades. Quizás es también ese momento misterioso en que nace un nuevo poe- ta, un nuevo narrador. Harold Bloom IBBY México / A leer trabaja para generar encuentros gozosos con la lec- tura para que, de esta manera, la cultura escrita sea parte fundamen- tal de la vida de los mexicanos. Una manera de lograrlo es asesorar a maestros, padres de familia, bibliotecarios y promotores de lectura en la formación de acervos y selección de libros. Año con año, la Asociación, en colaboración con el Consejo Nacional para la Cultura y las Artes, la Cámara Nacional de la Industria Editorial Mexicana y la Fundación Mexicana para el Fomento de la Lectura, publi- ca una lista comentada de libros que las editoriales hacen llegar, desin- teresadamente, a la Biblioteca BS y que un grupo de especialistas evalúa para conformar las recomendaciones. La Guía de libros recomendados para niños y jóvenes 2014 contiene reseñas de obras clasificadas por etapas lectoras, datos de editoriales, li- brerías y bibliotecas, así como información sobre premios internacionales de literatura infantil y juvenil. Asociación para Leer, Escuchar, Escribir y Recrear, A.C. Guía de libros recomendados para niños y jóvenes 2014 Goya 54, Col. Mixcoac, C.P. 03920, México, D.F. -
Anuario Sobre El Libro Infantil Y Juvenil 2009
122335_001-006_AnuarioInfantilJuvenil_09 27/2/09 11:27 PÆgina 1 gifrs grterstis FUNDACIÓN seromri e 122335_001-006_AnuarioInfantilJuvenil_09 27/2/09 11:27 PÆgina 2 www.grupo-sm.com/anuario.html © Ediciones SM, 2009 Impresores, 2 Urbanización Prado del Espino 28660 Boadilla del Monte (Madrid) www.grupo-sm.com ATENCIÓN AL CLIENTE Tel.: 902 12 13 23 Fax: 902 24 12 22 e-mail: [email protected] ISBN: 978-84-675-3466-5 Depósito legal: Impreso en España / Printed in Spain Gohegraf Industrias Gráficas, SL - 28977 Casarrubuelos (Madrid) Cualquier forma de reproducción, distribución, comunicación pública o transformación de esta obra solo puede ser realizada con la autorización de sus titulares, salvo excepción prevista por la ley. Diríjase a CEDRO (Centro Español de Derechos Reprográficos, www.cedro.org) si necesita fotocopiar o escanear algún fragmento de esta obra. 122335_001-006_AnuarioInfantilJuvenil_09 27/2/09 11:27 PÆgina 3 ÍNDICE Presentación 5 1. Cifras y estadísticas: 7 LA LIJ en 2009 Departamento de Investigación de SM 2. Características y tendencias: 27 AÑO DE FANTASY, EFEMÉRIDES Y REALISMO Victoria Fernández 3. Actividad editorial en catalán: 37 TIEMPO DE BONANZA Te re s a M a ñ à Te r r è 4. Actividad editorial en gallego: 45 PRESENCIA Y TRASCENDENCIA Xosé Antonio Neira Cruz 5. Actividad editorial en euskera: 53 BUENA COSECHA Xabier Etxaniz Erle 6. La vida social de la LIJ: 61 DE CLÁSICOS Y ALLEGADOS, DE HONESTIDAD Y OPORTUNISMO... Sara Moreno Valcárcel 7. Actividad editorial en Brasil: 113 VIGOR Y DIVERSIDAD João Luís Ceccantini 8. Actividad editorial en Chile: 135 ANIMAR A LEER: ¿SALTOS DE ISLOTE EN ISLOTE? María José González C.