Jenny Hedley Jenny Hedley i(20906504 works by)
Gender: Female
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Works By

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1 Review of ‘Reclaim: Understanding Complex Trauma and Those Who Abuse’ by Dr Ahona Guha and ‘Trust: a Fractured Fable’ by Jeanne Ryckmans Jenny Hedley , 2024 single work review
— Appears in: Editor's Desk - 2024 2024;

— Review of Trust : A Fractured Fable Jeanne Ryckmans , 2023 single work autobiography
Also reviews Guha, Ahona. Reclaim: understanding complex trauma and those who abuse
1 Her Body Was My Teacher i "An ugly, small bird faces extinction. It is the time of the Anthropocene and", Jenny Hedley , 2024 single work poetry
— Appears in: Rabbit , no. 38 2024; (p. 50-53)
1 Review of ‘The Red Witch : a Biography of Katharine Susannah Prichard’ by Nathan Hobby Jenny Hedley , 2023 single work review
— Appears in: Editor's Desk - 2023 2023;

— Review of The Red Witch : A Biography of Katharine Susannah Prichard Nathan Hobby , 2022 single work biography
1 Jenny Hedley Reviews Icaros by Tamryn Bennett Jenny Hedley , 2023 single work review
— Appears in: Mascara Literary Review , no. 29 2023;

— Review of Icaros Tamryn Bennett , 2020 selected work poetry

'The use of medicinal plants or herbs originates from Indigenous knowledge systems which predate colonisation by thousands, or in the case of Aboriginal pharmacopeia, tens of thousands of years. Phytotherapy, a science-based medical practice first described by French physician Henri Leclerc in 1913, uses plant-derived medicines for prevention and treatment of ailments. Today, industrial pharma hacks plants’ intrinsic biotechnologies for maximum profit, producing pills and potions engineered to ease mental and physical maladies. What has been overlooked by the dollars that be (aka extractive capitalism) is the use of traditional plant medicines for diseases of spirit.' (Introduction)

1 A Technology to Remember and Forget: André Dao’s Anam Jenny Hedley , 2023 single work review
— Appears in: Overland [Online] , August 2023;

— Review of Anam André Dao , 2023 single work novel

'André Dao’s Anam is a sweeping epic composed over twelve years and spanning three generations: from Dao’s unnamed grandfather, a Catholic intellectual imprisoned for 3653 days in ­war-torn Vietnam; to his parents, whose application for refugee status was accepted by Australia, separating them from relatives resettled in France; to Dao’s rootless perambulations between all three countries plus Cambridge, where guilt and financial obligation bind him to the pursuit of a master’s in law. In the process, Anam presents questions around responsibility, inheritance and belonging as Dao searches for a home that feels like home, with partner and daughter at his side, and is instead confronted by a sense of placelessness, of time outside of time, and collected histories which refuse to yield redemptive truths.' (Introduction)

1 Love Child Jenny Hedley , 2023 single work prose
— Appears in: Verge 2023 2023;
1 I <3 My Mother Bots : Archive, Corporeality and Écriture Matière Jenny Hedley , 2022 single work prose
— Appears in: TEXT Special Issue , no. 69 2022;
'This creative and eisegetical piece describes the birth of two Twitter bots whose voices emerge from the author’s late mother’s literary archive. Because the archive is locked in a storage cube overseas, the archival approach is speculative, experimental and under constraint. Performing a stocktake of physical artefacts that the author has access to in Melbourne, and drawing on memory as living archive, the author constructs a website around these archival objects by way of a clickable image map, inspired by Shelley Jackson’s (2006) hypertextual work my body – a Wunderkammer, and using techniques common to écriture féminine and écriture matière (Eades, 2015). When this does not satisfy the author’s archive fever (Derrida, 1995) she builds a poetry bot that tweets pseudorandomly generated poetry, and a second Twitter bot that responds to these poetics using lines from her mother’s unpublished manuscript. The author anthropomorphises her Mother Bots, explains how the Tracery library powers the bots’ code through expanding grammars, considers the ethics of posthumous tweeting, and concludes with an exploration of the chatbot field, including American Artist’s Sandy Speaks (2016) and Maartje Smits’s The Artist Is Not Present (2019), and considers the ephemerality of digital works.' (Publication abstract)
1 Jenny Hedley Reviews Body Shell Girl by Rose Hunter Jenny Hedley , 2022 single work review
— Appears in: Mascara Literary Review , no. 28 2022;

— Review of Body Shell Girl Rose Hunter , 2022 single work autobiography

'I first encountered author Rose Hunter late in 2020 when I wrote about the decade I sold lingerie in strip clubs, hinting at but not claiming my own experience on the pole. Rose called me out on social media, furious at seeing ‘yet another conversation go by about sex workers, without a sex worker in it.’ She wrote, ‘My experience comes not from strip clubs but other areas of the sex work industry.’ I replied, ‘In truth, I have been on that side of the curtain, on your side and in various places in between.’ We had each outed ourselves on a platform that never forgets.' (Introduction)

1 The Art of the Self : Eloise Grills’ Big Beautiful Female Theory Jenny Hedley , 2022 single work review
— Appears in: Overland [Online] , October 2022;

— Review of Big Beautiful Female Theory Eloise Grills , 2020 single work autobiography
1 I’ll <3 U When Ur Gone i "< Notes", Jenny Hedley , 2022 single work poetry
— Appears in: Cordite Poetry Review , 1 June no. 105 2022;
1 A Compendium of Failed Relationships Jenny Hedley , 2021 single work poetry
— Appears in: Cordite Poetry Review , August no. 102 2021;
1 Hustling the Hustlers Jenny Hedley , 2020 single work essay
— Appears in: Verity La , November 2020;
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