y separately published work icon Overland [Online] periodical issue  
Issue Details: First known date: 2017... September 2017 of Overland [Online] est. 2011 Overland [Online]
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Contents

* Contents derived from the , 2017 version. Please note that other versions/publications may contain different contents. See the Publication Details.
The Dystopia Is Real, Emilie Collyer , single work criticism

'The conversations I kept hearing about the TV version of Margaret Atwood’s The Handmaid’s Tale – in the media, on social media, at gatherings – started to irritate me. About how it could happen: it’s not that farfetched; America is on the brink of a totalitarian regime and Australia’s not far behind; it happens to women all around the world already you know, especially in those countries where women are not allowed to drive.' (Introduction)

At the Intersection of Writers Festivals and Literary Communities, Millicent Weber , single work essay

'Literary festivals are complex beasts. They’re simultaneously social spaces, cultural projects and political platforms. As providers of entertainment, drivers of tourist revenue and exercises in government branding – think ‘Melbourne: City of Literature’ – they cop flak for their commercialisation.' (Introduction)

The Maid of Orleans, Sacred and Profane, Ramon Glazov , single work review

'Joan of Arc was naive, a holy fool – if she wasn’t in secret extremely shrewd and pragmatic. The saintly ‘voices’ she claimed to hear were schizophrenia – if they weren’t ergotism, or epilepsy, or purely a rhetorical device. She cross-dressed for practical reasons – if it wasn’t due to some religious idiosyncracy, or to protect herself from rape, or an issue of gender identity.' (Introduction)

Pushing the Audience: the Sydney Underground Film Festival, Kate Robertson , single work essay

'The Sydney Underground Film Festival (SUFF, 14–17 September) is dedicated to cinema that challenges conventions, screening films that are narratively, stylistically and, perhaps, morally transgressive. Stefan Popescu, the Festival Director and Program Director, is passionate about broadening the cinema that people have access to. ‘Pushing the boundaries and challenging is really important’, he says. ‘I try to push our audience’. For its eleventh year, the festival is bookended by two Australian premieres that Popescu contrasts as ‘PG versus bordering on X’. On opening night, Joe Pickett and Nick Prueher bring The Found Footage Film Festival here for the first time, showcasing the strange discarded videos they have been collecting for almost twenty years. The festival ends with Kuso, which gained a reputation at Sundance for being so disgusting there were mass walk-outs.' (Introduction)

Unwriting Myself, Tina Huang , single work essay autobiography

'Once, I was a contender. Now, I’m not so sure.

'L played the Talking Heads to me for the first time last night and I cried it moved me so much; this is not your beautiful house, this is not your beautiful wife. I don’t even have a house or wife, but it already feels like I’m gonna get both wrong.' (Introduction)

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