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Beverley Farmer’s novels and short stories focus on loss, migration and homecoming. In this beautifully hewn essay, fellow novelist and short-story writer Josephine Rowe finds a kindred spirit and argues for a celebration and reclamation of this long-neglected Australian writer. In the Writers on Writers series, leading authors reflect on an Australian writer who has inspired and fascinated them. Provocative and well-written, these books start a fresh conversation between past and present, shed new light on the craft of writing, and introduce some intriguing and talented authors and their work. The Writers on Writers series is published by Black Inc. in association with the University of Melbourne and State Library Victoria.
Ten years in the writing, The Bone House is an extended meditation on the life of the body and the life of the mind, composed of three long essays, each based on a single theme, and woven out of the elemental symbols of earth, and water, fire and blood, light and darkness.What does art know that we do not? Alongside the urge to grasp the world, to abstract and to delve, is the urge to make our visions known, to fix the moment in time in its fullness of meaning. The Bone House presents these moments in the form of a mosaic made from myth, poetry and fable, from relics of the past, from explorations and illuminations and surface impressions. Set out like a commonplace book, the essays can be read in any sequence, or savoured for their detail.
Five short interwoven tales, three of them novellas, each has a woman at its centre. In each the women are speaking, thinking and acting for themselves even if opposed or oppressed by authority.
'Across Farmer's works, there has always been an attraction to those beings who occupy two realms â ] Once one has lived elsewhere, lived differently, it doesn't matter whether she stays to forge a new life or turns back towards the old, or moves on once again; there will always be the shadow, the after-image, of the life not lived.' Beverley Farmer's writing reflects on restlessness, desire and homecoming. In this brilliantly acute essay, fellow novelist and short-story writer Josephine Rowe finds a kindred spirit and argues for a celebration and reclamation of this unique Australian author. In the Writers on Writers series, leading authors reflect on an Australian writer who has inspired and fascinated them. Provocative and well-written, these books start a fresh conversation between past and present, shed new light on the craft of writing, and introduce some intriguing and talented authors and their work. Published by Black Inc. in association with the University of Melbourne and State Library Victoria.
A new edition of Beverley Farmer’s classic 1980 debut, out of print for many years. Alone captures the emergence of one of Australia’s most powerful and distinctive writers. Set in Melbourne in the late 1950s, and taking place over the course of two days and nights, Alone chronicles the feelings of obsession and hopelessness, isolation and desire provoked by the ending of an intimate relationship. A young woman, a fledgling writer, recalls her passion for her female lover, who has left her. She is estranged from her family and has dropped out of university, and is contemplating ending her life. As she travels through the night-time streets, industrial areas and boarding houses of a Melbourne fallen into economic depression and cultural malaise, she reflects on the days and months past that have brought her to despair. Written in a style threaded with gothic motifs, and shadowed by the constant threat of sexual violence, Beverley Farmer’s debut novel captures the romantic intensity and ironic reversals of youthful longing. It displays her remarkable capacity for bringing different forms of writing together in a single work, prose and poetry, dialogue and dramatic monologue, as well as her reflections on other writers’ work. Based partly on her own experiences, Alone shows the formation of a literary voice in writing that is both heightened and flowing, lyrical and precise. Praise for Beverley Farmer: ‘As she explores the frailty of emotional experience, Farmer places her characters in a luminous domain of elemental sensual experience…’ — Cassandra Pybus ‘Beverley Farmer’s expansive curiosity and regard for microcosmic significance sharpen a reader’s attention to all things lived, dreamed, and observed.’ — Josephine Rowe
INSTANT NATIONAL BESTSELLER WINNER OF THE WRITERS’ TRUST SHAUGHNESSY COHEN PRIZE WINNER OF THE OTTAWA BOOK AWARD FOR NONFICTION Former Chief Justice of the Supreme Court of Canada Beverley McLachlin offers an intimate and revealing look at her life, from her childhood in the Alberta foothills to her career on the Supreme Court, where she helped to shape the social and moral fabric of the country. As a young girl, Beverley McLachlin’s world was often full of wonder—at the expansive prairie vistas around her, at the stories she discovered in the books at her local library, and at the diverse people who passed through her parents’ door. While her family was poor, their lives were rich in the ways that mattered most. Even at a young age, she had an innate sense of justice, which was reinforced by the lessons her parents taught her: Everyone deserves dignity. All people are equal. Those who work hard reap the rewards. Willful, spirited, and unusually intelligent, she discovered in Pincher Creek an extraordinary tapestry of people and perspectives that informed her worldview going forward. Still, life in the rural Prairies was lonely, and gaining access to education—especially for girls—wasn’t always easy. As a young woman, McLachlin moved to Edmonton to pursue a degree in philosophy. There, she discovered her passion lay not in academia, but in the real world, solving problems directly related to the lives of the people around her. And in the law, she found the tools to do exactly that. She soon realized, though, that the world was not always willing to accept her. In her early years as an articling student and lawyer, she encountered sexism, exclusion, and old boys’ clubs at every turn. And outside the courtroom, personal loss and tragedies struck close to home. Nonetheless, McLachlin was determined to prove her worth, and her love of the law and the pursuit of justice pulled her through the darkest moments. McLachlin’s meteoric rise through the courts soon found her serving on the highest court in the country, becoming the first woman to be named Chief Justice of the Supreme Court of Canada. She rapidly distinguished herself as a judge of renown, one who was never afraid to take on morally complex or charged debates. Over the next eighteen years, McLachlin presided over the most prominent cases in the country—involving Charter challenges, same-sex marriage, and euthanasia. One judgment at a time, she laid down a legal legacy that proved that fairness and justice were not luxuries of the powerful but rather obligations owed to each and every one of us. With warmth, honesty, and deep wisdom, McLachlin invites us into her legal and personal life—into the hopes and doubts, the triumphs and losses on and off the bench. Through it all, her constant faith in justice remained her true north. In an age of division and uncertainty, McLachlin’s memoir is a reminder that justice and the rule of law remain our best hope for a progressive and bright future.
In short vignettes and longer stories, Josephine Rowe explores the idea of things that are left behind: souvenirs, scars, prejudice. These beautifully wrought, bittersweet stories capture everyday life in restrained poetic prose, merging themes of collective memory and guilt, permanence and impermanence, and inherited beliefs. A mother moves north with her young children who watch her and try to decipher her buried grief. Two photographers document a nation’s guilt in pictures of its people’s hands. An underground club in Western Australia plays jazz to nostalgic patrons dreaming of America’s Deep South. A young woman struggles to define herself among the litter of objects an ex-lover has left behind.
An engaging woman-against-the-odds story about an entrepreneurial South Island sheep farmer. When Beverley Forrester’s beloved husband Jim died unexpectedly, not only did she have to deal with her grief, but she suddenly had a farm to run too. Although she had grown up in a farming family, she herself had trained and worked as an occupational therapist for many years. So there was a lot to learn and new tasks to undertake – not least the need to win the trust of Jim’s loyal farm workers and the community in the close-knit North Canterbury area. She set to work, and with the help of those around her, she learned to farm, and has also developed a successful brand of natural coloured, undyed, chemical-free yarns sold internationally, and her own fashion label, which debuted at New Zealand Fashion Week. Resilient, big-hearted, entrepreneurial and determined, Beverley Forrester is a treasure and this is her delightful and engaging story. It’s also the story of North Canterbury’s beautiful Hurunui district, and the pioneers who built it.
The English language is changing constantly. We invent new words and phrases, we mash up idioms, we mispronounce, misuse, misappropriate. Sue Butler has heard it all and is ready to defend and disagree with common usage. Veering from tolerance to outrage, she examines how the word sheila took a nose-dive after World War II, considers whether we should hunker or bunker down, and bemoans the emptiness of rhetoric. She shouts 'down with closure' as it leaps from the psychoanalyst's couch, explains why we've lost the plot on deceptively, untangles the manuka honey stoush, fathoms why the treatment of famous is infamous, and ponders whether you would, could or should ... Rebel without a Clause is a fascinatingly idiosyncratic romp through the world of words by lexicographer and former Macquarie Dictionary Editor, Sue Butler.
The Bioregional Imagination by Tom Lynch,Cheryll Glotfelty,Karla Armbruster Pdf
Bioregionalism is an innovative way of thinking about place and planet from an ecological perspective. Although bioregional ideas occur regularly in ecocritical writing, until now no systematic effort has been made to outline the principles of bioregional literary criticism and to use it as a way to read, write, understand, and teach literature. The twenty-four original essays here are written by an outstanding selection of international scholars. The range of bioregions covered is global and includes such diverse places as British Columbia's Meldrum Creek and Italy's Po River Valley, the Arctic and the Outback. There are even forays into cyberspace and outer space. In their comprehensive introduction, the editors map the terrain of the bioregional movement, including its history and potential to inspire and invigorate place-based and environmental literary criticism. Responding to bioregional tenets, this volume is divided into four sections. The essays in the “Reinhabiting” section narrate experiments in living-in-place and restoring damaged environments. The “Rereading” essays practice bioregional literary criticism, both by examining texts with strong ties to bioregional paradigms and by opening other, less-obvious texts to bioregional analysis. In “Reimagining,” the essays push bioregionalism to evolve—by expanding its corpus of texts, coupling its perspectives with other approaches, or challenging its core constructs. Essays in the “Renewal” section address bioregional pedagogy, beginning with local habitat studies and concluding with musings about the Internet. In response to the environmental crisis, we must reimagine our relationship to the places we inhabit. This volume shows how literature and literary studies are fundamental tools to such a reimagining.
Set across Australia, Greece and the USA in the mid-twentieth century, this collection of fourteen stories follows a disparate series of people at critical junctures, grappling with loneliness, fear, belonging, mental illness, disability, aging and longing. An emotionally challenging and deeply rewarding read.First published in 1985, Home Time was shortlisted for both the National Book Council Award for Australian Literature in 1985, and The Age Book of the Year for Imaginative Writing.Beverley Farmer (1941-2018) was a novelist and short story writer. Her works have won and been shortlisted for multiple awards and include Alone (1980), Milk: Stories (1983), A Body of Water (1990) and The Seal Woman (1992). In 2009, Farmer won the Patrick White Award.
