'This is a story of right and wrong, and how sometimes they look the same ...
'1926. Tom Sherbourne is a young lighthouse keeper on a remote island off Western Australia. The only inhabitants of Janus Rock, he and his wife Isabel live a quiet life, cocooned from the rest of the world.
'One April morning a boat washes ashore carrying a dead man and a crying infant - and the path of the couple's lives hits an unthinkable crossroads.
'Only years later do they discover the devastating consequences of the decision they made that day - as the baby's real story unfolds...' (From the publisher's website.)
A lighthouse keeper and his wife find and adopt a baby girl who is washed up on their isolated island in a lifeboat. But not all the girl's family are gone, and their decision will have ramifications.
'Based on the author’s end-to-end walk of the Cape to Cape Track (C2C), this article presents a literary history of the Leeuwin-Naturaliste region traversed by the trail. The C2C is a continuous, 135-kilometre coastal pedestrian path from Cape Naturaliste to Cape Leeuwin south of Perth in the south-west corner of Western Australia. A relatively short route by long-distance trekking standards, the C2C reverberates with literary narratives, incidents and encounters. In 1831, explorers John Dewar and Andrew Smith walked northbound from Augusta to the Swan River, approximately following the modern-day orientation of the track. Known for tempestuous weather, Cape Leeuwin—the southern terminus of the C2C, near Augusta, where the Indian and Southern Oceans converge—was the model for “Lewin’s Land” referenced in Jonathan Swift’s Gulliver’s Travels (1726) and later alluded to in D.H. Lawrence and Mollie Skinner’s The Boy in the Bush (1924). Drawing from theories of emplacement (de Certeau; Edensor; Gros; Ingold; Ingold and Vergunst; Merleau-Ponty; Michael; Solnit), this article describes walking as a medium for understanding the imbrications between bodies, landscapes, journeys, histories and stories.' (Publication abstract)
'This essay joins in the discussion about the future of national literatures in the shifting formations of globalisation. Specifically, I want to interrogate what we mean by the future when we speak of literature and, specifically, of Australian or New Zealand literature.
The essay proposes a literary cartography that overlays the alienation of this ‘no world’ with the ‘no-place’ of island utopias as they are mobilised in archipelagic chains or threads. This alternative model of spatial relationality and dynamism differs from conventional global traffic. It is a cartography derived from islands: from their history, fictions, and their theorists. This project is at least partly utopian in a strictly generic sense; that is, in its implication in the reading practices and politics of utopian texts.' (Author's abstract)
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