AustLit

'Telling stories of a better world...

'The Greek krisis means ‘to decide, a point at which a change must come'. In Queensland, the COVID-19 crisis is altering life in ways that were unimaginable even a few weeks ago. While this is undeniably frightening, as writers we also see it as a moment of possibility.

'We want to inspire you to imagine this as a turning point on the way to a better future. Every two weeks, our UQ writers will reveal a new challenge to help you write a postcard from that future to the world. Then we’ll publish some of our favourites here!'

Source: Project website.

'Just when you think we have finally killed off the idea that writers need to retire Coleridge-style to a lonely farmhouse on the moors to get anything done, another writer notes on their acknowledgements page how the work would ‘never have been written’ without the generosity of this or that writers retreat, giving them a break from the world to do their work. But this must be an exaggeration. As much as I love writing retreats, the reality of writing a book is that the work is not done in a two-week uninterrupted block in the mountains: it is done around other paid work and domestic life, daily or weekly, iteratively, over long stretches of time. Writers who publish also grapple with deadlines, editorial direction, and the affordances and limitations of their economic status in the industry. These things impact creative practice. Far from being separable from the social and the material, writing is always inflected by these twin forces.' (Introduction)

'The unthinkable has happened. Warrior queen Bluebell has lost her kingdom to the Crow King, Hakon, and her demented Trimartyr sister, Willow. While Bluebell would like nothing more than to storm the city with her army and crush Willow underfoot, the enemy's threat to burn its inhabitants alive prevents her. Worse, Willow seems to have the terrifying god Maava on her side.

'Bluebell's niece Rowan has otherworldly power and can help her unite the warring tribes, but her third sister Rose is in hiding with her son, and her fourth sister Ivy, Queen of Sæcaster is fleeing abuse with her children. Ash, under-magician, is the only sister who might be able to help Bluebell solve the conundrum. Together they must cross the sea to the land of giants, and try to recover Ash's power and save the kingdom and those they love.

'As the sisters' journeys converge, and the terrifying power of Maava threatens all they hold dear, matters come to a head. To survive they must fight the last battle together, but even with the gods and giants on their side, can they overcome the might of Maava and the unending malice of their errant sister Willow?'

Source: Publisher's blurb.

'The cultural and commercial operations of the publishing industry have been dramatically reshaped by digital technologies, yet little is known about how these effects are differentiated across sectors of the industry. This article analyses data about the production of Australian-authored fantasy, romance and crime fiction titles to explore the specific publishing ecosystems of different genres and the roles played by multinational, small press and self-publishing in each. First, we show that there has been across-the-board growth in each genre and for each type of publisher. Second, we argue that multinational publishing activity in these genres has been characterized by broad stability, punctuated by experimentation with genre-specific imprints for romance and fantasy titles. Third, we find that small presses make diverse contributions to genre ecosystems, able to both activate prestige and experiment with formats. Finally, we note the immense growth in self-publishing, particularly in romance, and argue that self-publishing now operates in tandem with traditional publishing to create hybridized publishing ecosystems - with greater potential to transform the traditional publishing model than e-books.' (Publication abstract)

'This brief introductory essay serves two purposes. The first is to introduce the study of contemporary Australian popular fiction with reference to our wider research on ‘genre worlds’. Using a literary sociological approach that draws on Howard S. Becker’s Art Worlds, our research recognises the multiple dimensionality of popular genres: as bodies of texts, collections of social formations that gather around and produce those texts, and sets of industrial practices with various national and transnational orientations. [...] The second purpose of this essay is to introduce a themed cluster of four essays by Australian researchers, each of whom looks to both Australia and the world for examples of the cultural and commercial functions that contemporary popular fiction can perform.'

Source: paragraph two.

Special edition of Australian Literary Studies, drawing from the research project Genre Worlds: Popular Fiction in the Twenty-First Century.

'Sara Jones has never been like other girls. On the eve of her wedding, she discovers that the supernatural strength she has been hiding her whole life comes from a father she never knew: the Viking god Odin. His interference derails her closest relationships, and Sara starts to long to be among her own kind. She follows Odin’s ravens into the City, where her father has unleashed seven monsters from Asgard as challenges. As she faces the challenges one by one, she finds allies she never expected. And an enemy she could never have predicted.

'Sara is torn between her old life and her longing for something beyond mortal knowledge, and it will take every ounce of her godlike power to save who she loves and become what she longs to be.'

Source: Publisher's blurb.

'One English village. Two thousand years of stories.

'People have always come to make wishes at the Silver Well: in Pagan times and Christian, during revolution and war. When Rosie arrives in the tiny village of Cerne Abbas with a broken heart, she becomes connected across the centuries with others who have yearned for something. Seven stories, set in seven time periods, reveal the deepest longings of the human heart.'

Source: Publisher's blurb.

'1874: Only days before she is to leave the foundling home where she grew up, Agnes Resolute discovers that, as a baby, she had been abandoned with a small token of her mother: a unicorn button.

'Agnes always believed her mother had been too poor to keep her, but after working as a laundress in the home she recognises the button as belonging to Genevieve Breckby, the beautiful and headstrong daughter of a local noble family. Agnes had seen Genevieve once, in the local village, and had never forgotten her.

'Despite having no money, Agnes will risk everything in a quest that will take her from the bleak moors of northern England to the harsh streets of London, then on to Paris and Ceylon. As Agnes follows her mother's trail, she makes choices that could cost her dearly. Finally, in Australia, she tracks Genevieve down. But is Genevieve capable of being the mother Agnes hopes she will be?'

Source: Publisher's blurb.

‘Genre Worlds: Australian Popular Fiction in the Twenty-First Century’ is a research project funded by an ARC Discovery Project Grant between 2016 and 2018 (DP160101308). 

The research project aims to systematically examine 21st-century Australian popular fiction, the most significant growth area in Australian trade publishing since the turn of the century. Its three areas of investigation are: the publishing of Australian popular fiction; the interrelationships between Australian popular fiction and Australian genre communities; and the textual distinctiveness of Australian popular novels in relation to genre. Research will centre on thirty novels across three genres (fantasy, romance and crime), building a comprehensive picture of the practices and processes of Australian popular fiction through detailed examination of trade data, close reading of texts, and interviews with industry figures.'

Source: Project website.

'A handful of storylines recur in the family drama genre. The premise of an individual returning home, with a secret that threatens to disrupt the equilibrium of a family unit, after a period of self-imposed exile in order to fulfil filial obligations is well established, if not always predictable. From the famous final sequence of Roman Polanski's Chinatown (1974) to Mike Leigh's Secrets & Lies (1996), dramas around dubious parentage are similarly common. Yet, despite the predictability of its plot, Simon Stone's The Daughter is a sensitive and welcome addition to this genre.'  (Introduction)