Belinda Calderone Belinda Calderone i(12939631 works by)
Gender: Female
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Works By

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1 Cold Seed Belinda Calderone , 2022 prose
— Appears in: Grieve : Stories and Poems about Grief and Loss Volume 10 2022; (p. 152)
1 What We Found in the Stillness: Dr Belinda Calderone Reviews ‘Lockdown Poetry : The Covid Long Haul’ Edited by Rose Lucas Belinda Calderone , 2021 single work review
— Appears in: Rochford Street Review , no. 33 2021;

— Review of Lockdown Poetry : The Covid Long Haul 2021 anthology poetry

'In 2020, our lives began to shift in ways we never imagined. The ground beneath us was no longer solid. The world we knew became unfamiliar almost overnight. Since then, the virus that has swept our planet has left no human life unchanged.'  (Introduction)

1 Respelling the World Belinda Calderone , 2017 single work essay
— Appears in: TEXT Special Issue Website Series , no. 43 2017;

— Review of The Rebirth of Rapunzel : A Mythic Biography of the Maiden in the Tower Kate Forsyth , 2016 selected work criticism essay

'‘Rapunzel’ is one of the most beloved fairy tales of all time. With themes of isolation, entrapment, and escape, it continues to resonate with audiences even into the twentyfirst century. As Kate Forsyth muses, the tale ‘tells the transformative journey from stasis and shadows to liberation and light’ (7). Forsyth’s personal fascination with this tale led her to write The rebirth of Rapunzel: A mythic biography of the maiden in the tower.' (Introduction)

1 Introduction : The State of Play in Australian Fairy Tale: Where to Now? Rebecca-Anne C. Do Rozario , Nike Sulway , Belinda Calderone , 2017 single work essay
— Appears in: TEXT Special Issue Website Series , no. 43 2017;

'At the turn of the last century, writers like Atha Westbury and Hume Cook were asking whether Australia had its own fairies, its own fairy tale lore. They attempted to fill the perceived lack of traditional fairy-tale narratives with their own published works of fairy tale. The titles authors chose for their collections – for instance, Olga Ernst’s Fairy tales from the land of the wattle and Annette Kellermann’s Fairy tales of the south seas and other stories – often revealed an overt wish to build a fairy-tale tradition that was distinctly and uniquely Australian. While some of these tales simply relocated existing European tales to the Australian context, most used classic fairy-tale tropes and themes to create new adventures. Other writers and collectors, like K Langloh-Parker, Sister Agnes and Andrew Lang, sought to present Indigenous tales as examples of local folk and fairy tales – a project of flawed good intentions grounded in colonial appropriation. These early Australian publications are largely forgotten and, in many ways, the erasure or forgetting of narratives that were often infused with colonial attitudes to gender, class, race, is far from regrettable. And yet there was a burgeoning local tradition of magical storytelling spearheaded by the delicate fairies of Ida Rentoul Outhwaite’s brush and the gumnut babies of May Gibbs that celebrated the Australian environment, its flora and fauna, populating and decorating new tales for the nation’s children.' (Introduction)

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