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y separately published work icon Westerly periodical issue   peer reviewed assertion
Issue Details: First known date: 2021... vol. 66 no. 2 November 2021 of Westerly est. 1956 Westerly
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AbstractHistoryArchive Description

'Change is a rhetoric. Some of this is cheap or jargonistic: change processes, forces of change, fife-changing, changing hands, hearts, minds, spots, seas_ Some is more deliberate: the discourse of social change, policies of reform altering standards and conventions, climate change spoken of in terms of climate crisis—language used definitively to convey imperatives of action. But change phrasing is used (ironically) by conservative forces as regularly as those seeking something of revolution. With the uncertainties of global pandemic, growing awareness of ecological catastrophe and newly reimagined nationalisms, this is perhaps a realm of language ripe for creative attention. ' (Catherine Noske , Josephine Taylor and Daniel Juckes : Editorial introduction)
 

Notes

  • Only literary material by Australian authors individually indexed. Other material in this issue includes:

    Switzerland 911 by Marc Vincenz

    Darning by Dana Sonneschein

    Amateur Female Impersonator by Soon Jones

    The Curly-Haired Blonde, A Thin Dark-Haired Girl and Sunday Paper Amid the Disaster by Larry Blazek

    Heavens, Yes by Helen Ivory

    The Building of the Half Shut Eyes by Wendy Brandmark

    Of Service by Steve Denehan

Contents

* Contents derived from the 2021 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Life Assertionsi"I have consulted the plants", Declan Fry , single work poetry (p. 10-11)
Elephant Rocksi"To reach the beach we must pass through history", Reneé Pettitt-Schipp , single work poetry (p. 12)
Life Support, Carol Lefevre , single work short story (p. 13-20)
Propertyi"John is selling the Far Block", Riley Faulds , single work poetry (p. 22)
Something Specific about This Boodjai"I try to pause systematically before I drop you at childcare", Nadia Rhook , single work poetry
Author's note: In May 2021, a seven-year-old child died of an infection while waiting for medical care at the Perth Children's Hospital. Subsequently, her parents pushed for an investigation. As a result of the Chavittupara family's pressure on the McGowan Government, a report was delivered that observed a 'cascade of missed opportunities' leading to the death. The report listed eleven recommendations, including a clear pathway for parents to escalate concerns to staff and a review of cultural awareness for staff. 
 
(p. 22-23)
Waiting for Somethingi"I didn't know were we came from. As if we fell out of the air, washed up", John Catlin , single work poetry (p. 24)
The Kissing Disease, Clare Murphy , single work autobiography (p. 25-33)
Yesterday It Came in the Form ofi"soft blonde grass strewn", Elise O’Sullivan , single work poetry (p. 34)
Defective, Annabel Smith , single work prose (p. 35-43)
How Not to Build a Girli"It's a wire fence but I'm looking at a grid", Emma Lee , single work poetry (p. 45)
Teeth and Knucklebones, Eliza Henry-Jones , single work short story (p. 48-53)
Schwarzseei"Strange mess this nest of", Amy Crutchfield , single work poetry (p. 54-55)
Deployedi"The day the parachuter landed", Sam Morley , single work poetry (p. 56)
Writing from Life and the Limits of Privacy in Gabrielle Carey’s Only Happiness Here, Gemma Nisbet , single work essay
'In life writing studies. research relating to privacy tends to concentrate on the ethics of representing other people's lives. What is discussed less frequently are the ethics and the effects on life writers of representing their own Ines. There seems to be an assumption that because someone has chosen to write about their experiences, their private details are fair game: as Claire Lynch puts it, writing about one's own life is, of course, potentially exposing, but at least the revelations are self-inflicted' (13). Maureen Perkins observes that 'the autobiographical imperative implies that everything must be told. that secrets are the equivalent of a betrayal of the autobiographical pact, and that an author should hold nothing back' (271). This rhetoric—that if you're not revealing yourself fully, you may be doing your readers and writing a disservice—is often accompanied by the ostensibly admirable sentiment that life writers should strive for honesty regarding their mistakes and failings. However, it also tends towards oversimplifying what it might mean to write the truth' about one's life. Writir4 based on real experience will only ever be a partial representation of it and, as Blake Morrison suggests, confessional writers 'make conscious and considered choices about what to reveal' (206). For many life writers. these choices will be based, at least in part, on balancing self- revelation and autobiographical restraint.' (Introduction)
 
(p. 57-71)
Contentsi"That dead summer we deserved better - good fortune and snow", Francesca Sasnaitis , single work poetry (p. 72)
Canticle for a Dancing Mani"It has come to this, the embalmed fifties", Stephen Gilfedder , single work poetry (p. 73)
The Matisse Cut-Outsi"I visit my mother, canvas bag in hand,", Michael Mintrom , single work poetry (p. 74)
Two Seasons, Kim Aikman , single work short story (p. 75-82)
Annunciation : Thinking of Fra Angelicoi"An ordinary girl she looks up", Rose Lucas , single work poetry (p. 83)
Shadowsi"I have submitted a poem to a competition. I am excited and proud that", Holly Isemonger , single work poetry (p. 84-85)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 8 Dec 2021 13:00:02
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