AustLit

'Literary hoaxes thrive on exposure. At best, they are politically transgressive. They strip away anything smug, pretentious or hypocritical to reveal an uglier reality underneath.' 

'Is playwright David Williamson a “Bad Art Friend”? The ethical questions raised by the viral New York Times article about two writers’ friendship, which imploded when one used the other’s kidney donation as inspiration for a short story without permission, reverberate through his memoir, Home Truths. In fact, the tale could be a Williamson play.' (Introduction)

Some time ago, during the renovation of a historic house in Sydney, a tin box, sealed with wax and wrapped in oiled canvas, was found wedged under a beam in the roof cavity. The house was Elizabeth Farm…

'So begins A Room Made of Leaves’ editor’s note, detailing the discovery of the “long lost secret memoirs” of Elizabeth Macarthur, wife of colonial wool baron John Macarthur. The “editor and transcriber” is Kate Grenville, author of the acclaimed colonial novel based on her family history, The Secret River.' (Introduction)

'Washington Post publisher, Philip L. Graham, famously declared that journalism is the “first rough draft of history”. It’s also the first rough draft of inspiration for movies and books “based on a true story”.

'Since four Victorian journalists witnessed Ned Kelly’s last stand on June 28 1880, their vivid accounts have influenced portrayals of the bushranger – from the world’s first feature film in 1906 to Peter Carey’s 2000 novel, True History of the Kelly Gang, adapted to a gender-bending punk film earlier this year.' (Introduction)

'In 1886, a year before American journalist Nellie Bly feigned insanity to enter an asylum in New York and became a household name, Catherine Hay Thomson arrived at the entrance of Kew Asylum in Melbourne on “a hot grey morning with a lowering sky”.' (Introduction)

'Prior to writing A Wife’s Heart (Davies 2017), I did not see myself as a flâneur. I walked in public spaces, but I often hurried rather than strolled. When I did slow, I found myself having spontaneous conversations with strangers. A flâneur seemed too leisurely an observer of the crowd; too detached. An exegetical examination of my work, however, together with a historical understanding of the flâneur, led to the realisation that flánerie was a motif integral to my writing process, and to creating a narrative of timelessness over a century of divorce and single parenting. My moments of flânerie, punctuated with engagement among the crowd, also change the dynamics of the flâneur to a dialogic and empathetic experience. A similar flânerie is evident in the auto / biography Stasiland (Funder 2002), which explores the pervasive presence of East German history after Germany’s reunification. I suggest that the fluid mindset of a flâneur suits the writer on a quest (Marr 2016-2017), augmenting specific interview, archival and site research practices with sensory awareness and a dialogic empathy in such auto / biographical works. I further argue that the slash between the auto and biography is dissolved via the flâneur becoming a motif of timelessness.'  (Publication abstract)

'At the 2017 Brisbane Writers Festival, I sat on the ‘Australian Heroes’ panel with First World War historian Martin Crotty, Rebe Taylor, author of Into the Heart of Tasmania, and Crotty’s colleague, University of Queensland historian Geoff Ginn.' (Introduction)

'Henry Lawson is one of Australia’s best-known poets. His married life, documented in Kerrie Davies’ newly published A Wife’s Heart: the untold story of Bertha and Henry Lawson, was tumultuous. Bertha and Henry were married in 1896 and had two children, Bartha and Jim. In an April 1903 affidavit, discussed in the following edited extract, Bertha alleged that Henry was habitually drunk and cruel. They received judicial separation on June 4 of the same year.' (Publication Abstract)

'Henry Lawson is a revered cultural icon, but despite his literary success he descended into poverty and an early death. While many blamed his wife for his decline, Bertha Lawson alleged in April 1903 that Henry was habitually drunk and cruel, leading her to demand a judicial separation. In A Wife's Heart, Kerrie Davies provides a rare account of this tumultuous relationship from Bertha's perspective, in an era when women's rights were advancing considerably. Reproducing the Lawsons' letters - some of which have never been published - alongside her personal reflections, Davies explores the couple's courtship, marriage and eventual separation, as Bertha struggled to raise their two children as a single parent. A Wife's Heart offers an intimate portrait of the Lawsons' marriage, examined through a modern lens. It is an innovative, imaginative work of biography that reflects on the politics of relationships and the enduring complexities of love.' (Publication Summary)