Literary love making in Nicholas Sparks novels: Finding the balance between the writer’s life and the writer’s work in bestselling Romantic Literature

For almost a decade now Nicholas Sparks has been writing love stories. Not only has he been publishing his stories, but they have received high acclaim in each of their installments. Several of his novels have been made into major motion pictures and increased his popularity quite significantly. His status as a successful romantic fiction writer is undeniable, but the question is, why? What is it about Nicholas Sparks that makes his novels so engaging, and personally, what do I need to do as an aspiring novelist to try and acquire the same literary status? Sparks’s novels reach readers at a number of different levels, thus giving them appeal no matter the intellectual intent of the reader. Theoretically, Sparks engages reader response techniques as well as formalist processes such as “habitualization” and “defamiliarization,” while also developing engaging plot lines that represent many of the experiences from his own life. His writing is not only academically redeemable, but it is also creatively stimulating; between the two, Sparks represents the thunder and lightning combination all writers strive for while trying to achieve literary success. This project also offers a creative element in which I attempt to exemplify many of the traits discussed in the analytical sections of this document, by recreating them in a creative, fictitious fashion. Themes such as: motion versus stasis, life versus death, and the ordinary versus the extraordinary all exist within the narrative structure of my short story “Trip to Fall.” Besides these thematic elements, the creative section strives to represent the balance Sparks achieves between the experiences of his own life and the fictitious world he creates. Overall, this project delves into the life of Nicholas Sparks to better understand the inspiration for his writing at the level of form as well as content, while also paying tribute to Sparks’s style through a representation of his work in my own words.

Feminine transports and transformations : textual performances of Australian women convicts and emigrants from 1788 to 1850

While scholars have critiqued early representations of the white colonial female in the form of the novel, short story, or historical narrative, analyses of poetry tend to be located only on that produced in Australia and often in light of a nascent national identity. This article examines how poetic renditions of the desolate woman might be viewed as part of imperialism's mythologising process, displacing more worrying versions of womanhood in relation to the new colonies. While social anxieties over the identity of the white colonial female would result in highly controlled productions of the female convict and female emigrant, this article demonstrates how they also prove unstable and point to a disruptive reality beyond language.

We must become gatekeepers : editing indigenous writing

With the proliferation of Indigenous texts currently published by specialist and mainstream publishers, non-Indigenous editors increasingly find themselves negotiating the uncomfortable territories of race, politics and power for which current training (in an Australian context) leaves them poorly prepared. Indigenous writer Anita Heiss advocates the employment of Indigenous editors as an 'ideal' solution, though few are currently working in the Australian industry. Margaret McDonell, an experienced non-Indigenous editor of Indigenous texts, suggests non-Indigenous editors need to 'undertake a journey of learning' during which 'assumptions, biases, tastes and preconceptions' are examined. Yet this presents a difficult task within a postcolonial society, when, as identified by Clare Bradford, even the classification of texts into genres such as fiction and the short story represents an entirely Eurocentric construct, 'not readily correspond[ing] with Aboriginal schemata'. The Australian Society of Authors' discussion paper 'Writing about Indigenous Australia: Some Issues to Consider and Protocols to Follow' provides practical guidelines that may be adapted for editorial use. This article canvasses these and other ideas with a focus on establishing an ethical and appropriately sensitive cross-cultural approach to editing Indigenous writing.

Celebrating difference

This thesis examines short fiction and some poetry by writers from four different Australian cultural communities, the Indigenous community, and the Jewish, Chinese and Middle-Eastern communities. I have chosen to study the most recent short fiction available from a selection of writing which originates from each culture. In the chapters on Chinese-Australian and Middle-Eastern Australian fiction I have examined some poetry if it contributes to the subject matter under discussion. In this study I show how the short story form is used as a platform for these writers to express views on their own cultures and on their identity within Australian society. Through a close examination of texts this study reveals the strategies by which many of these narratives provide an imaginative literary challenge to Anglo-Celtic cultural dominance, a challenge which contributes to the political nature of this writing and the shifting nature of the short story genre. This study shows that by celebrating difference these narratives can act as a site of resistance and show a capacity to reflect and instigate cultural change. This thesis examines the process by which these narratives create a dialogue between cultures and address the problems inherent in diverse cultural communities living together.

Only thin smoke without flame

Hardy's short stories have been relatively neglected by critics. This thesis argues for their reconsideration and proper recognition as essential components of Hardy's achievement. Examines his creation of a fictional "Wessex" with himself as conservator, but suggests that their subversive ideologies touching on modern themes, make him a "proto-modern" writer.

Nhill

Nhill is a short story that gently echoes a sense of anxiety. The very title  suggests emptiness and is a gentle exploration of a middle-class white couple's sense of not belonging to this landscape. Although they travel to the centre of the Little Dessert of western Victoria, it's 'heart of salt', everything in this gorgeous haze of a story of conspires to convey a sense of fragility and unreality.

The mechanics of computation and human thought

Thousands of students are preparing for chemistry examinations in June. An unresolved debate is whether they should be permitted to use graphics and programmable calculators in those examinations. Some educators have not only advocated the use of graphics calculators, but have also pointed to the Danish system in which students are permitted to use computers in senior school examinations.

In some Australian jurisdictions, graphics calculators are permitted in year 12 mathematics examinations, but not in chemistry examinations. The reasoning is that information or methods of solving numerical chemical problems can be stored in the memory of graphics calculators, giving some students an unfair advantage. This means that chemistry students either have to learn how to use (and buy!) two types of calculators or, if they only have one calculator, are disadvantaged in using non-programmable calculators in mathematics examinations.

The use of technology (or its lack thereof) can limit how and what students learn. “The mechanics of computation and human thought” is an allusion to Asimov’s short story, “A Feeling of Power” in which, overuse of technology has caused people to forget how to do simple arithmetic. In our current assessment system, the insistence that students must be able to do simple chemical calculations has lead to underuse of available technology. The misperception is that the ability to do calculations is linked to understanding of concepts.

Graphics calculators, programmable calculators and computers are tools. Instead of banning or limiting technology, we should take the opportunity to rethink what is being assessed and how it is assessed. It is the proper use of technology, by combining the mechanics of computation and human thought to deepen understanding and to ask probing questions that truly leads to a feeling of power.

Prufrock's lover

I can't do this any more. Not even for you. Not even for the McDonald's Happy Meal you buy me after we have sex every Saturday afternoon. Do you know I only eat the cookies? Do you know that I drop the fries down the holes in the sink when you aren't looking? I drop them one by one. Not two by two like Noah's animals. On their own. Solitary. Lone

Testy

Short story commissioned by Slow Canoe for multi media live reading

7 questions with award-winning writer and poet Maria Takolander

 Maria Takolander is interviewed by Danielle Williams.

The earth does not get fat

This story was shortlisted for the Ink Tears International short story competition (UK) 2013 and subsequently published by the Australasian Association of Writing Programs.

Cross-artform creative practice as still-life recovery: Chinese-Western materialisms of time, writing and death

As argued by Norman Bryson, the still-life genre is sorely neglected by theorists and critics, largely because its concern with ‘low-plane reality’ (everyday items and acts) has obscured its genuine relevance to material thinking. By reappraising rather than abandoning the genre’s traditional themes of death and time—using a cross-cultural, Chinese-Western approach—it is possible to re-energise materialisms of time, writing and death within still life. Such a move depends above all on a re-evaluation of still life as ‘Vanitas’—the term which to date has unified, and more to the point limited, traditional still-life understandings of death and time. This article tracks a more explosive and creative materialism of still life simultaneously through the specifically Chinese approach to death (which includes the ‘Yin Yang’ 阴阳 as a sort of author of time) and via Gilles Deleuze’s cinematic philosophy of the time-image; what connects these is the very Deleuzean notion of time that subtends Chinese engagements with death. In this way, the still-life genre may be recovered from its current critical and theoretical malaise. Reconnecting with practice is a crucial aspect of this recovery, and so in its early stages this article analyses an example of still-life, creative non-fiction (authored by Cher Coad), and it concludes by establishing the value of this potentially ‘new chapter of the “still life” genre’ (in Matilde Marcolli’s terms) for the cross-artform analysis of the short story ‘Nhill’ (authored by Patrick West). Analysis, though, is only half the picture: a fully recovered still-life genre would see theory and practice endlessly circulating through each other, spurring on practice and impelling theory. Coad’s and West’s literary examples are introduced in the hope that they might trigger fresh theoretical and practice-based, still-life discoveries in prose and also in poetry.