Jennifer Mae Hamilton Jennifer Mae Hamilton i(12257175 works by)
Gender: Female
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Works By

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1 Growing Up Off the Grid Jennifer Mae Hamilton , 2021 single work review
— Appears in: Sydney Review of Books , June 2021;

— Review of In the Time of the Manaroans Miro Bilbrough , 2020 single work autobiography

'I’ve been in therapy for nearly half a decade and I’m only now re-connecting with aspects of myself that I tried to leave behind. Still, now, in my late thirties, I find myself too embarrassed to look back. From where I stand, it is heroic to relive the emotional and physical experience of being teenage again and braver still to write and publish a memoir about it. And so, despite being a teenager clearly in thrall to shame and confusion, Miro Bilbrough’s memoir goes back and fearlessly recounts some of the intense, awkward, difficult and beautiful details that mark her transition to adulthood.' (Introduction)

1 The Future of Housework : The Similarities and Differences Between Making Kin and Making Babies Jennifer Mae Hamilton , 2019 single work criticism
— Appears in: Australian Feminist Studies , vol. 34 no. 102 2019; (p. 468-489)

'This article critiques Donna Haraway’s slogan ‘make kin not babies’ via a reading of her SF tale ‘The Camille Stories’. It does so by considering the relationship between the care labour practices involved in making both kin and babies. The article has two central operations. It is an explicitly eco-social feminist argument against the use of making kin as an uncomplicated theoretical standpoint in the environmental humanities. At the same time, it deconstructs the iconic feminist ambit to be liberated from housework. These parallel operations emerge by characterising making kin as a kind of housework, which is a deeply ironic evaluation of Haraway’s slogan. Overall the article is a response to the question: how is the work involved in making kin both the same as and different to the labour of making babies? The answer is constructed through the method of literary close reading, paying attention to genre and plot of ‘The Camille Stories’ alongside Fiona McGregor’s novel Indelible Ink [2010. Melbourne: Scribe Publications] and Quinn Eades’s all the beginnings: a queer autobiography of the body [2015. Melbourne: Australian Scholarly Publishing]. These comparative readings enable a reckoning with the gnarly and contradictory implications of ‘making kin’ across contemporary environmental humanities and feminisms.' (Publication abstract)

1 Desk Work : A Novel Idea by Fiona McGregor Jennifer Mae Hamilton , 2019 single work essay
— Appears in: Sydney Review of Books , July 2019;

'One morning I listened to Fiona McGregor talk about her writing on a podcast as I washed a dusty pink cashmere sweater I bought from an op shop for five dollars. Although it was before nine and I was still at home, I had started work for the day. Multitasking by doing laundry and listening to a podcast felt legitimate to classify as ‘on the clock’ because of several factors: the time and day of the week (Monday, 8.45am), the match between the manual activity and a key theme in my current research (housework) and, primarily, the direct relationship between the podcast and my task for the morning (drafting this review of McGregor’s A Novel Idea). While a complicated, informal, internal algorithm determined the legitimacy of this action, I felt justified nonetheless. Even if the difference between work and life is only ever one of degree, I won’t tell HR.'  (Introduction)

1 Composting Feminisms and Environmental Humanities Jennifer Mae Hamilton , Astrida Neimanis , 2018 single work criticism
— Appears in: Environmental Humanities , 1 November vol. 10 no. 2 2018; (p. 501-527)

'Composting is a material labor whereby old scraps are transformed—through practices of care and attention—into nutrient-rich new soil. In this provocation, we develop “composting” as a material metaphor to tell a particular story about the environmental humanities. Building on Donna Haraway’s work, we insist “it matters what compostables make compost.” Our argument is twofold. First, we contend that certain feminist concepts and commitments are foundational to the environmental humanities’ contemporary emergence. Second, we advocate for more inclusive feminist composting for the future of our field.

'We begin with a critical cartography of some of the field’s origin stories. While we discover that feminism is named or not named in several different ways, what most interests us here is a particular trend we observe, whereby key feminist scholars or concepts may be mentioned, but their feminist investments are not incorporated as such. Following this cartography, we dig into the stakes of these missed opportunities. A failure to acknowledge the feminist context that grows some of our field’s foundational concepts neutralizes their feminist politics and undermines the potential for environmental humanities to build alternative worlds. To conclude, we propose feminist composting as a methodology to be taken up further. We call for an inclusive feminist composting that insists on feminism’s imbrication with social justice projects of all kinds, at the same time as we insist that future composting be done with care. Sometimes paying attention to the feminist scraps that feed the pile means responding to feminism’s own potential assimilations and disavowals, particularly in relation to decolonization.

'Like both the energy-saving domestic practice and the earlier social justice struggles that inspire it, composting feminism and environmental humanities involves messy and undervalued work. We maintain, however, that it is a mode of scholarship necessary for growing different kinds of worlds.' (Publication abstract)

1 All The World’s A Drain Jennifer Mae Hamilton , 2017 single work biography
— Appears in: Sydney Review of Books , November 2017;

'If it is the job of a phenomenologist to describe conscious experience, Bodies of Water: Posthuman Feminist Phenomenology does so in a way that collapses the distinction between one’s psychic life and one’s material situation. Its author, Astrida Neimanis, challenges us to reimagine how individual human bodies — constituted of approximately 70 per cent water — are thoroughly implicated in the planetary hydrocommons.' (Introduction)

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