Donna Lee Brien, Craig Batty, Elizabeth Ellison, Alison Owens (eds), The Doctoral Experience: Student Stories from the Creative Arts and Humanities, reviewed by Simon-Peter Telford. Sally Breen, Ravi Shankar, Tim Tomlinson (eds), Meridian: The APWT/Drunken Boat Anthology of New Writing, reviewed by Stephanie Green George Saunders, A Swim in a Pond in the Rain (In Which Four Dead Russians Give Us a Masterclass In Writing and Life), reviewed by Michael Kitson Tarshia L. Stanley (ed), Approaches to Teaching the Works of Octavia E. Butler, reviewed by Jennifer Ngo Linda Weste, Inside the Verse Novel: Writers on Writing, reviewed by Sarah Pearce Antonia Pont, You will not know in advance what you’ll feel and Alice Allan, The Empty Show, reviewed by Gabrielle Everall Aidan Coleman, Mount Sumptuous and Thuy On, Turbulenc, reviewed by Carolyn Booth Linda Adair, The Unintended Consequences of the Shattering, reviewed by Moya Costello Mags Webster, Nothing to Declare and Ella Jeffery, Dead Bolt, reviewed by Dominic Symes Steve Brock, Live at Mr Jake’s, reviewed by Dominic Symes Helen Garner, One Day I’ll Remember This: Diaries 1987–1995, reviewed by **Moya Costell Reinhard Hennig, Anna-Karin Jonasson, Peter Degerman (eds), _Nordic Narratives of Nature and the Environment_, reviewed by **Simon- Peter Telford** Indigo Perry, Darkfall, reviewed by Gemma Nisbet
Abstract The afterlives of a monstrous colonial monument are being contested in the heart of Belgium. Engaging in a visual analysis of the PeoPL happening, facilitated by artivist Laura Nsengiyumva, I will argue that this visual proposition is witness to a renewed wave of revolt, altering a still very present colonial order, its vibrant properties of space and possibilities of time. By melting down an ice-reproduction of the equestrian statue of Leopold II, Nsengiyumva renders visible the lingering possibility to restructure the shared division of the sensible proper to the colonial present of Belgium and beyond. This wave of revolt opened a discursive space that altered the conditions through which difference was historically thematised. From (failed) multiculturalism, diversity, superdiversity and the present turn in securitisation through the misnomer of radicalisation, processes of inclusion/exclusion are for the first time in history being discussed on the conditions of the primary concerned.
Margaret McAllister and Donna Lee Brien, Paradoxes in Nurses’ Identity, Culture and Image: The Shadow Side of Nursing, reviewed by Amelia Walker Ali Alizadeh, Marx and Art, reviewed by Nicholas Cowley Miles Merrill & Narcisa Nozica, Slam Your Poetry: Write a Revolution, reviewed by Dominic Symes Diane Comer, The Braided River: Migration and the Personal Essay, reviewed by Jessica White Paul Hetherington, Moonlight on Oleander: Prose Poems, reviewed by Mags Webster Michael Earp (ed), Kindred: 12 Queer #LoveOzYA Stories, reviewed by Chloe Cannell Gay Lynch, Unsettled, reviewed by Brigid Magner Michael Noble, Nicholas Culpeper and the Mystery of the Philosopher’s Stone, reviewed by Christopher Gist Rob Maddox-Harle & Jaydeep Sarangi (eds), Dancing the Light: Poems from Australia and India, reviewed by Sutanuka Ghosh Roy Zinia Mitra (ed), The Concept of Motherhood in India: Myths, Theories and Realities, reviewed by Claudia Pharès
The special issue of TEXT on writing and researching (in) the regions provides a robust portrait of the ways in which regional Australia is imagined, produced, and negotiated by writers and scholars working in a range of settings broadly understood as regional. The writing and research here gather around a range of themes: writing (in) the regions; teaching (in) the regions; and publishing (in) the regions. Together, these works contribute to the ongoing negotiations around how to understand, interpret, work within and nurture regional writing, teaching and research.
In this article, I ‘trouble’ mainstream moral panics about children’s social media use. Respondents were invited to complete a survey that asks them to reflect on their use of Instagram as a form of diary-keeping. At a time when there is much negativity around young people’s use of social media, I explore how Instagram might be used by young people as a mode of cultural participation. This case study promotes a more nuanced understanding of young people’s everyday life storying and communication practices, and their relationships to certain publics or anticipated readers.
Dr Danielle Wood completed her PhD at Edith Cowan University in Western Australia. Her thesis included the novel The Alphabet of Light and Dark, which won The Australian/Vogel Literary Award in 2002 and the Dobbie Literary Award in 2004. Her works include Rosie Little's Cautionary Tales for Girls, Mothers Grimm and Housewife Superstar: The Very Best of Marjorie Bligh. Dr Wood has collaborated with fellow Tasmanian writer Heather Rose, under the pen name 'Angelica Banks', to produce a trilogy of adventure stories featuring a young writer, Tuesday McGillycuddy. Finding Serendipity, A Week Without Tuesday and Blueberry Pancakes Forever have been published in Australia, Germany and the USA.
It has never been a more exciting time to be a Young Adult (YA) fiction scholar.Over the last several decades, the genre has risen in popularity, and the deep complexity and thematic density of the stories has become more and more widely accepted -both among readers, researchers and critics.The assorted narratives of contemporary YA are rich with mature themes, often throwing the reader's world and experiences into sharp clarity, but they are also capable of light-heartedness, irreverence and suspension of reality.YA fiction explores identity, growing up, and environmental, social and political concerns, often portraying violence and sexuality with startling precision and empathy.Australasian YA fiction, in particular, frequently draws on the relative isolation of the setting to bring issues of identity and belonging into sharper clarity.Ironically, while YA fiction is considered a genre for adolescents, these narratives are attracting a wider age-defined readership.Whatever the themes and concerns of the text, however, at the heart of every good YA narrative is a good story.
This special issue of _TEXT_ responds to the current challenge faced by writers in the academy to identify with greater precision what it is about their work which is genuinely an original contribution to knowledge across the field of creative writing (or, more rarely, in another field). It follows from the acclaim with which the first three _Creative Writing as Research_ special issues, published in _TEXT_ in 2010, 2012 and 2014, have been met. In those landmark collections, creative writing pieces from writers based in universities around Australia and New Zealand were published under refereed circumstances with statements regarding their status as research attached. Not only – as reader feedback told us – did _TEXT’s_ readership enjoy consuming a range of creative work from creative writing academic researchers, they also found the research statements useful as models for their own practice and others in their universities.
