Midnight water : a memoir

Gaylene Perry, author of Midnight Water (2004), dealt in this work with the loss of her father and her brother eleven years ago in an irrigation channel in country Victoria (Australia). She set her story in one day- the day of the drownings.

Nasdijj's fake magical realist memoir: re-visioning magical realism's relationship with fakery

Examining what might be described as Nasdijj’s "fake magical realist memoir" The Blood Runs Like a River Through My Dreams, this paper is interested in how Nasdijj's text might be useful in contesting our understanding of the postcolonial literature of magical realism. Drawing attention to Nasdijj’s utilization of the “primitivist” conventions of magical realism, this paper will illustrate how fakery might be seen as essential not only to Nasdijj's text but also to magical realism. In fact, this paper argues that magical realist novels might be productively read as hoaxes, mobilizing what Graham Huggan describes as the "postcolonial exotic" in order to engage in a subversive act of “culture jamming”. The objective of the analysis is not to condemn magical realism along with Nasdijj’s opportunistic memoir, but rather to rescue magical realism from ideas about authenticity, celebrating its ironies and its challenges to colonial discourses of identity and history.

Writer-as-narrator: engaging the debate around the (un)reliable narrator in memoir and the personal essay

Subjective and personal forms of nonfiction writing are enjoying exponential popularity in English language publishing currently, as an interested public engages with ‘true’ stories of society and culture. Yet a paradox exists at the centre of this form of writing. As readers, we want to know who the writer is and what she has to tell us. Yet as writers we use a persona, a constructed character, a narrator who is only partially the writer, to deliver the narrative. How is a writer able to convey ‘true’ stories that are inherently reliant on memory, within a constructed narrative persona?We find a ‘gap’ between the writer and the narrator/protagonist on the page, an empowered creative space in which composition occurs, facilitating a balance between the facts and lived experiences from which ‘true’ stories are crafted, and the acknowledged fallibility of human memory. While the gap between writer and writer-as-narrator provides an enabling space for creative composition, it also creates space for the perception of unreliability. The width of this gap, we argue, is crucial. Only if the gap is small, if writer and writer-as-narrator share a set of passionately held values, can the writer-as-narrator become a believable entity, satisfying the reader with the ‘truth’ of their story.

Toward a broader appreciation of human motion in education

Motion is a fundamental activity for the healthy functioning human organism. Its importance, however, is increasingly de-valued in Western cultures as they speed toward adopting technologies and virtual experiences as adjuncts to, and even replacements for7 traditional educational structures and processes that involve physical activity. Organised and reflective experience of human motion is becoming increasingly marginalised in teaching methodologies and learning programs in educational institutions at all levels around the globe. This inquiry sets out to gain a greater understanding of why people and human motion become disconnected, particularly during periods of formal education. A central question and two sub-questions form the basis of the inquiry. The central question asks why human motion is not valued and more utilised in education. In particular, why do learning areas that directly represent involvement with human motion, such as physical education, continually struggle in education programs. It directs the investigation to focus on the causes rather than the symptoms of the disuse and devaluation of human motion in Australian education. The two sub-questions split the praxis of the study. The first seeks to understand how the causes of devaluation work in the educational context lo affect the lack of acknowledgement; and the second considers ways to counter the disuse of human movement in education programs. To address these questions, the research focuses on rebutting the notion of a mind-body dualism. Rather, it seeks to better understand how humans learn and function as monists - integrated beings, acquiring self-knowledge in their 'world of being' in which bodily and emotional experiences, and reasoning are inextricably intertwined. I have approached this qualitative research as an ethnographic sociologist examining the issues from a critical high modernist perspective in order to demonstrate the pervading influence in Australian education of strong beliefs and values from the era of Enlightenment. Narrative analysis of 'memoir' in the form of self-defining memories was selected to gain a sensibility of the connectedness between human emotion, motion and reasoning in the lived experiences of students in three primary and three secondary schools across Years 2-12. An opportunity for human movement to be more valued and utilised in emerging educational frameworks that have life knowledge, dispositions and capabilities at their core is identified. The inquiry proposes a conceptualisation of human motion in education for new times characterised by the need for people to develop personal resources and strong positive identities in order to cope with a world of rapid change and uncertainty.

Displaced self : the impact of language-migration on self-identity

In this dissertation I explore the impact that language-migration has on Self-Identity. The thesis consists of two parts: a memoir The Strangeness of Freedom, and an exegesis. Each is intended to stand alone, but also to complement the other. In the memoir I draw on my personal recollections of my family's migrations across five countries (Czechoslovakia, West Germany, USA and Australia) and into three languages (Czech, German and English) in order to convey my particular experience of language migration. In the exegesis I analyse several memoirs written by other language migrants and examine what impact they believe migrating into a new language and culture had on their own Self-identity. I draw on postmodern and psychoanalytic theory to explore the nature of Self-Identity formation and why migrants, as well as non-migrants might experience a change in their Self-identity during the course of their lives. I attempt to tease out to what extent the change in Self-identity is a universal experience that results from living across time and moving from a known past into an unknown future, regardless of whether one physically migrates or not. I found that while language-migrants tend to describe a more intense disruption of their Self-Identity, non-migrants also experience such a disruption in their sense of Self, simply by living in a rapidly changing world. I propose that while changing locations and languages clearly disrupts the continuity we presume life entails, it is in fact the passage of time that distances us from our known past, including our familiar Self, even if we never physically or linguistically migrate.

Lorne story : reflections on a video postcard

In the imaginary and reflexive space of video storytelling, one story generates another. As an autobiographical video memoir, Lorne story is fashioned as a hybrid form of postcard and director's video notebook: it examines the stories we tell ourselves, and the stories we tell others - in the presence of video.

Writing/reading a life : the rhetorical practice of autobiography

This essay examines how the introduction/preface to a non-fiction text is constructed as autobiographical practice – a sort of ‘introduction-as-memoir’. The use and autobiographical effects of rhetorical tropes (stake inoculation, metaphor and binary oppositions) are examined in the introduction that prefaces Massacre myth (Moran, 1999), a polemic account of the 1926 police massacre of Aborigines that was the catalyst for Australia’s ‘History Wars’. Using the analytical methods of deconstruction, I tease out how language, structure and a (seemingly) objective account of historical virtues are recruited to the project of autobiography, and illuminate the role of language in the construction of the authorial subject (and Others), and show how these are entangled with broader social, political and epistemological issues. The analysis underlines the dialogic relationship between text, reader and society, and the instability of truth claims and the authorial subject of autobiography.

Clarifying creative nonfiction through the personal essay

In a recent issue of TEXT, Matthew Ricketson sought to clarify the ‘boundaries between fiction and nonfiction’. In his capacity as a teacher of the creative nonfiction form he writes, ‘I have lost count of the number of times, in classes and in submitted work, that students have described a piece of nonfiction as a novel’. The confusion thus highlighted is not restricted to Ricketson’s journalism students. In our own university’s creative writing cohort, students also struggle with difficulties in melding the research methodology of the journalist with the language and form of creative writing required to produce nonfiction stories for a 21st century readership.
Currently in Australia creative nonfiction is enthusiastically embraced by publishers and teaching institutions. Works of memoir proliferate in the lists of mainstream publishers, as do anthologies of the essay form. During a time of increasing competition and desire for differentiation between institutions, when graduate outcomes form a basis for marketing university degrees, it is hardly surprising that, increasingly, tertiary writing teachers focus on this genre in their writing programs.
A second tension has arisen in higher education more generally, which affects our writing students’ approaches to tertiary study. The student writers of the 21st century emerge from a digitally literate and socially collaborative generation: the NetGen(eration). From a learner-centric viewpoint, they could be described as time-poor, and motivated by work-integrated learning with its perceived close links to workplace contexts and to writing genres. They seek just-in-time learning to meet their immediate employment needs, which inhibits the development of their capacity to adapt their researching and writing to various genres and audiences.
This article examines issues related to moving these NetGen student writers into the demanding and rapidly expanding creative nonfiction market. It is form rather than genre that denotes creative nonfiction and, we argue, it is the unique features of the personal essay, based as it is on doubt, discovery and the writer’s personal voice that can be instrumental in teaching creative nonfiction writing to our digitally and socially literate cohort of students.

Not dark yet : a personal history

Spurred on by his encroaching blindness, prominent historian David Walker's Not Dark Yet is a frank, witty and innovative memoir that connects the small, seemingly inconsequential events of daily life to larger historical themes of family, war, patriotism, racial identity, religious belief, knowledge of the world and death.