AustLit

'This research takes as its basis the plurality of time and the plurality of queerness and attempts to locate a hybrid form through a case study approach to practice.'  (Publication abstract)

'How should creative writers, including HIV-negative writers, think through HIV as a livable illness? What is the potential for writing gay fiction in an era of ‘post-crisis’? This creative writing research draws links between literary modernism’s roots in crisis and the roots of contemporary gay realist fiction in the AIDS crisis. It suggests these origins place similar demands on writers to re-conceive elements of fiction. This paper, primarily, outlines challenges of representing HIV in contemporary fiction, and then suggests that contemporary HIV’s history of crisis provides ways to address these challenges, that the challenges may be productive. Because HIV in contemporary life is doubly invisible – viral loads may be undetectable, and the ongoing crisis can be understood as marginal or tactically historicised – aspects of creative writing after antiretrovirals exist in conversation with uncertainty, including elements that are otherwise put to representative use. By looking at some examples of post-crisis writing in contemporary gay realist fiction, the paper establishes the potential for HIV-positive representations to shift fiction-writing practice, bringing aspects of the novel such as time, metaphor and textual representation towards an aesthetics of post-crisis.' (Publication abstract)

'Much is always made of the facility with which people quote verse in Shirley Hazzard’s worlds. In a 2004 interview for The Believer, Hazzard said, “It’s quite intentional. You see, books were a theme of life, a lifetime, for whole populations who grew up before the 1950s, when television broke on the world.” In her introduction to these collected stories, Zoë Heller identifies the habit of quotation as a sign of a character’s moral worth.' (Introduction)

'A story about sexuality, the ache of friendship and love, and sticky summers at the pool, this exhilarating debut novel captures the heartbeat of one transformative summer where alliances are made and broken.

'‘I was an agent of Dan, a captive of his, really. I went where he wanted me, and did as he wanted, and for a long time, in this way, I was happy.’

'It’s been a long winter in a creaky house in Brunswick, where a young man has devoted himself to recreational showers, staring at his phone, and speculating on the activities of his best friend and housemate, Dan. But now summer is coming, and Dan has found a boyfriend and a job, so the young man is being pushed out into the world, in search of friendship and love.

'The Adversary is a sticky summer novel about young people exploring their sexuality and their sociability, where everything smells like sunscreen and tastes like beer, but affections and alliances have consequences. It asks what kinds of stories are possible – or desirable – for which kinds of friendships, and what happens when you follow those stories to their natural conclusions.' (Publication summary)

'This paper examines the Megg, Mogg and Owl stories of Simon Hanselmann, an Australian artist whose serialized comics both depict acts of contemporary roguery committed by a group of friends in an inner city sharehouse and test the generic limits of its own storytelling conventions, thereby becoming contemporary instances of “rogue texts.” The paper positions the adventures of Megg, a witch, Mogg, her familiar, Owl, their housemate, and associated characters including Booger and Werewolf Jones as contemporary variations of both the Australian genre of grunge fiction and the broad international tradition of rogue literature. It shows how Megg, Mogg, Owl and their friends use the structure of the sharehouse to make their own rules, undertake illegal behaviour, and respond to the strictures of mainstream society, which alongside legal restrictions include normative restrictions on gender and behaviour. It shows the sharehouse as a response to their economic, as well as cultural and social conditions. The paper then shows how Megg and particularly Owl come up against the limitations of the permissiveness and apparent security of their “rogue” society, and respond by beginning to “go rogue” from the group. Meanwhile, the text itself, rather than advancing through time, goes over the same chronology and reinscribes it from new angles, becoming revisionist and re-creative, perhaps behaving roguishly against the affordances of episodic, vignette form. The paper argues that Simon Hanselmann’s Megg, Mogg and Owl comics can be understood as contemporary rogue texts, showing characters responding to social and generic limits and expressing them through a restless and innovative comics text.'

Source: Abstract.

'We spend most of our lives doing whatever we can to keep our bodies separate from our minds, but the world doesn’t have to work too hard to remind us they’re inextricable, the implication being that some day we will die. This tension is the rich theme of Amanda Niehaus’s first novel, which follows a straight Brisbane couple in the months following a miscarriage.'  (Publication summary)

'In his second novel, The Pillars, Peter Polites uses Australia’s fixation on home ownership to explore the intersection of race, class and sexuality – as well as a growing conservatism within the queer community. “If you look at the generic images coming out of the queer community, there is a very specific aesthetic going on that’s obviously tied to race and class … You can be a total slut monster but still operate within a hegemonic discursive framework. There’s nothing radical about reinforcing dominant discourse. To me, that’s the opposite of sexual liberation.” By Ronnie Scott.' 

'He lives and yet does not live; he’s flesh and yet not. He’s John Simpson, ill-fated stretcher-bearer of Gallipoli turned national myth, and in this short novel by Wayne Macauley, he’s dredged up from the mists of time along with Murphy the donkey, who accompanies him on his endless quest to find the Inland Sea. “We follow the vast network of fissures and gullies inland,” he says, “leaning on charity where we must, paying our way where we can.” He pauses to read The Lucky Country and perform minor miracles on ordinary Australians. But Simpson and his donkey have never made it across state lines; on their last attempt (the 28th) they were beset by wasps.' (Introduction)

'You’ve gotta love a novel about hardship and destruction that’s also a nicely crafted happiness machine – particularly when the hardship comes in the form of zombies, creatures whose prime motive is the consumption of the public, and whose ideas of happiness differ from yours and mine.' (Introduction)

'This paper investigates approaches to authorship in The Long Weekend in Alice Springs (2013), a graphic adaptation by the Australian artist Joshua Santospirito of a psychoanalytic essay by Craig San Roque (2004). Because the subject of both essay and adapted text is the ability of stories to have lasting effects over time in a space of crisis, this unusual adaptation establishes itself as an unusual site of authorship, whereby multiple authorships create a complicated authority, and stories themselves are shown to be significant. Through its variable positioning of the different roles undertaken by the author, the adaptation struggles with the ongoing challenge of appropriating Indigenous storytelling and suggests a possible way to discuss these stories from the outside. Through analysing paratextual materials and the work itself, this paper shows how nonfiction comics can both convey stories and separate themselves from stories through destabilising notions of creation and authorship.' (Publication abstract)

'I want to tell you about a difficult place that I visit regularly since moving to my suburb in the inner fringes of a large Australian city. The place is a gym, and I like it in the winter because there is a steam room there, a good place to zone out and think about the day. In the summer, the place is best known for its appended outdoor pool, and this pool is the source of both its interest and its difficulty.'  (Introduction)

'We are three writers and researchers learning to teach the image. We approach comics from different backgrounds and engage the medium in different ways, but our point of convergence is Graphic Narratives, a fourth-year subject developed by Dr Elizabeth MacFarlane at the University of Melbourne. Liz founded Graphic Narratives in 2011, when it was Australia’s first tertiary-level subject devoted to the study of the comics medium. Each year students create a minicomic which they then have the opportunity to swap or sell at an annual showcase event open to the public. With graphic novelist and academic Dr Pat Grant, Liz co-directs the Comic Art Workshop, Australia’s first artists’ residency dedicated to supporting major comics projects in progress. Bernard Caleo has taught comics making skills as part of Graphic Narratives, and also at primary and secondary schools. He edited and published the giant romance comics anthology Tango from 1997 to 2009, and made the feature documentary Graphic Novels! Melbourne! in 2012 with filmmaker Daniel Hayward. His ongoing project is to investigate possibilities for performing comics. Dr Ronnie Scott guest lectured, then tutored, then coordinated Graphic Narratives in various years and has since integrated comics into his Media & Communication Honours Lab and his undergraduate Nonfiction studios in the Creative Writing program at RMIT University. He has also published comics criticism in national venues and edited comics for international literary magazines, as well as publishing scholarly research on comics.'  (Introduction)

'Alice Chipkin and Jessica Tavassoli’s graphic memoir takes an insightful look at big issues such as clinical depression and sexuality – but at its heart it’s also just an intimate portrait of long-time friends.'