Sleepwalking into the mirror : panic and the thin skin of a writer

This text interwoven with artworks by Elizabeth McQueen explores the act of writing and this writer’s search for a narrative form which, after Kafka, fuses dream and reality. Escaping from the back door of my PhD research, which has entered such liminal realities as sleepwalking and autism as a way of challenging familiar boundaries of western normative thought, this text explores a slightly different boundary transgression: a terrifying fusion of reality and writing when late one dark (but not stormy) night a character from my novel appeared at my back window.

7 questions with award-winning writer and poet Maria Takolander

 Maria Takolander is interviewed by Danielle Williams.

Like a volcano waiting to erupt : The Australian Yiddish writer Pinchas Goldhar (1901-1947)

 Biographical essay outlining the tragic career of the Australian Yiddish writer Pinchas Goldhar.

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.