The Visitor

A poem of 25 lines that examines the postcolonial aspect of living in a small country town. The poem feeds into research of place and identity. It explores how poetry can highlight the conflicts of a changing sense of place and identity. This poem specifically contributes to research on Australia as a postcolonial space. It also fits in with ideas of ecocriticism and how a sense of place and space are constantly changing. It uses a ecocritical lens.

Finding space and time in the West

WHENEVER I talk to my students about the requisites for writing, I always tell them that they need at least two things: space and time. Time, which we frequently describe through verbs of motion such as ‘flow’ or ‘flux’, and space, which we usually view as emptiness or the absence of matter. I.e., two dimensions, which are co-dependent, are not only features of the physical world but mental constructs that are elementary to the faculty of cognition...

Not just another ball game : young adult and adult football fictions are different

Current media attention on the crossover novel highlights the increasing permeability of the boundaries between young adult and adult fiction. This paper will focus upon some of the difficulties around definitions of young adult fiction before considering the fiction of football, or soccer as it is more commonly known in Australia. The football genre exhibits a number of discrete and identifiable differences between young adult and adult readerships including, for example, the role of the protagonist, and the narrative’s distance from the game. This paper will use Franco Moretti’s Mapping as Distant Reading model of abstraction to highlight and unpack these and other characteristic differences in the narratological and stylistic techniques employed across adult and young adult texts. Close reading analysis of the adult football fiction Striker (1992) by Hunter Davies and young adult football fiction Lucy Zeezou’s Goal (2008) by Liz Deep-Jones’ will further illustrate the range of tensions and divergences as they are reflected across those readerships. The texts have been selected because they speak to themes of fear and safety; Joe Swift (Striker) is driven by a need to move away from childhood poverty and insecurity, while Lucy Zeezou shelters a homeless friend. With both protagonists being kidnapped for ransom for example, the texts have also been selected for their striking similarities in form and content.

The mirror manoeuvre : telling the same story twice

The emerging field of ecopsychology is marked by two theoretical concerns which can be seen as mirror images of each other. One is the concern with what humans need, psychologically, from the non-human natural world (e.g. Wolsko & Lindberg 2013). The other is what nature needs from us (e.g. Swim 2013). Ecocriticism has been exploring these questions for at least two decades, but ecocritical theory examines ways of reading texts rather than ways of writing them (Bate 2000; Buell 2001; Garrard 2012). Undertaking theoretically-informed “creative manoeuvres”, and reflecting and reporting on the results, is one way for practice-led researchers in the field of creative writing to progress the knowledge claims of our discipline. This paper describes an ecowriting practice experiment based on the premise that specific techniques of narrative fiction writing can deepen reader engagement with ecopsychology’s twin concerns, and help motivate ecological action. Exploring this premise is time-critical given the current environmental crisis (Rust & Totton 2012), and emerging evidence that contemporary modes of representing the non-human natural world fail to elicit activist responses (Crompton & Kasser 2009; Joffe 2008). In the practice experiment reported here, a unique reading experience has been constructed such that the reader encounters from two different perspectives, through two different novels, a single story of humans benefiting from non-destructive interactions with non-human nature. This paper argues that the two novels create a complex and intense relationship between reader and story which generates specific psychological effects, and ultimately demands an activist response.

Negotiating the creative and the critical : Paul Dawson’s creative writing and the new humanities

In the first Modern Language Association newsletter for 2006, renowned poetry critic and MLA President, Marjorie Perloff, remarked on the growing ascendency of Creative Writing within English Studies in North America. In her column, Perloff notes that "[i]n studying the English Job Information List (JIL) so as to advise my own students and others I know currently on the market, I noticed what struck me as a curious trend: there are, in 2005, almost three times as many positions in creative writing as in the study of twentieth-century literature" (3). The dominance of Creative Writing in the English Studies job list in turn reflects the growing student demand for undergraduate and postgraduate degrees in the field—over the past 20 years, BA and MA degrees in Creative Writing in North American tertiary institutions have quadrupled (3)...

Feminist crime fiction : an examination of embodied feminist intentions in Denise Mina’s The Field of Blood (2005)

The writing of award winning tartan noir author, Denise Mina, “crime queen of Glasgow” has been identified with “explicitly feminist politics,” and Mina herself claims, as a feminist, she wants to use crime fiction to present a “narrative about very disempowered people becoming empowered.” This paper explores how Mina’s avowed stance on feminism plays out in her novel, The Field of Blood (2005), and examines whether her concerns are reflected in the embodied actions of her young protagonist, would-be investigative journalist, Paddy Meehan. It asks whether Mina has succeeded in working against entrenched patriarchal codes of crime fiction’s dominant narrative construction or whether her feminist intentions have been undermined by traditional stereotypical conventions of the genre.

Talk Underwater

Short story

Lying in all honesty : capturing truth in women’s confessional memoir

This paper explores the slippery nature of illness and diagnosis in Lauren Slater’s memoir, Lying: a Metaphorical Memoir (2000). Speaking from the shadowy intersection of childhood and adolescence, Slater’s narrator, Lauren, uses the metaphor of epilepsy to describe her own predilection for exaggeration. In exploiting the fallibility of the first-person narrator, Slater insists on the legitimacy of metaphor in accounts of childhood illness that are more concerned with narrative truth than historical accuracy. The result of this playfulness and general misrule is that Slater writes herself into a double bind: on one side, she is the child narrator who inadvertently misrepresents events and misdirects readers, and on the other side, she is the untrustworthy author who employs metaphor as a licence to lie.

Getting the right words right

Oscar Wilde once complained that having spent an entire morning putting a comma into one of his poems, he spent the afternoon removing it. Peter Selgin calls this revisionitis: the inability of a writer to part with their work, the compulsion to go on fiddling and picking until there is nothing left to fret about. There can be real danger, Selgin warns, in fussing with things. The question then of how much to revise or how little to rewrite is one without certain answer and writers themselves hold differing views...

Lose yourself in books no more - interactive maps show the way

This article explores the use of digital technology such as interactive maps to enhance books.

Chroma Key Theatre : an examination of similarities and divergences in the use of Green Screen in two experimental theatre works

This paper examines the frame as it contributes to the debate on contemporary intermedial theatre and performance practices in light of increasing astriction between filmic and theatrical discourses. Informed by Auslander (1999), Lehmann (2006), and Giesekam (2007), and through an extrapolation of the tenets Eckersall, Gretchen and Scheer identify in the theory of New Media Dramaturgy, it will analyse two recent works of experimental theatre-making. RUFF (2013), a New York produced solo performance by one of the world’s leading female performers, explores her experiences of having a stroke. Total Dik! (2013), produced in Brisbane, Australia, is an interdisciplinary collaborative performance that examines aspects of dictatorship. They are clearly very different works yet there are a number of significant theatrical similarities in their use of Chroma Key technology and live compositing as material scenic devices. These works overtly and evocatively draw on the cinematic technique and technology of Chroma Key to augment and reveal the tensions and overlaps in their production processes.

From stadium to page : why football deserves more fiction

A great football novel is like a perfectly executed bicycle-kick goal, like players such as Argentine legends Diego Maradona and Lionel Messi; they come along once in a generation. Against the accumulated volume of non-fiction football literature (some people still call it soccer), which could fill and spill out of a World Cup Stadium, football novels are comparatively rare. That said, football or soccer fiction is a genre with a very real and important historical longevity...

The case for Sheilas, Wogs and Poofters by Johnny Warren

If you had to argue for the merits of one Australian book, one piece of writing, what would it be? Welcome to our occasional series in which our authors make the case for a work of their choosing. See the end of this article for information on how to get involved. The late Johnny Warren – also known as Captain Socceroo – was a legend of Australian football. He is fondly remembered as a player, coach, administrator, writer and broadcaster, and the award for the best player in the A-League is named the Johnny Warren Medal. And yet his 2002 biography Sheilas, Wogs and Poofters, an Incomplete Biography of Johnny Warren and Soccer in Australia, which he co-wrote with Andy Harper and Josh Whittington, seems eternally destined to raise eyebrows...