image of person or book cover 7932991311623433002.png
Image courtesy of publisher's website.
y separately published work icon The Naked Witch : An Autobiography single work   autobiography  
Issue Details: First known date: 2017... 2017 The Naked Witch : An Autobiography
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'Fiona Horne's extraordinary journey through a metaphysical-laced material world has all the breathtaking twists turns perils redemption and enlightenment of a fantasy novel merged with Siddhartha and Entertainment Weekly.

'Its the late 70s and a 10 year old girl builds an altar in the bushland of suburban Sydney. Stones leaves and flowers are offerings for her animal friends and the mystical creatures of her imagination. Hidden from the real world the girl feels accepted and safe. Alone in the bush she is a little pagan.

'Fast forward to the 90s and Fiona Horne is now the face of modern Witchcraft best-selling author radio and TV personality and founding member of chart-topping Aria nominated electro-rock group Def FX. She has Hollywood and the world at her fingertips.'

Source: Publisher's blurb.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Summer Hill, Ashfield - Burwood area, Sydney Inner West, Sydney, New South Wales,: Rockpool Publishing , 2017 .
      image of person or book cover 7932991311623433002.png
      Image courtesy of publisher's website.
      Extent: 221p.p.
      Note/s:
      • Published 1 July 2017.
      ISBN: 9781925429633, 1925429636

Works about this Work

Of Witches and Monsters, the Filth and the Fury : Two Australian Women’s Post-Punk Autobiographies Margaret Henderson , 2020 single work criticism
— Appears in: JASAL , vol. 20 no. 1 2020;

'By performing a feminist textual analysis of these two autobiographies, I examine the nature of the intersections between the putative liberations for women afforded by punk and post-punk music, and autobiography as a textual performance of the self. In addition, a reading of these autobiographies enables me to address questions of national context. I argue that, in an echo of Julian Temple’s ferocious documentary of the Sex Pistols, The Filth and the Fury, the characteristically punk thematics of filth and fury enable these autobiographies to narrate the narrators’ rejection of, and consequent sense of monstrosity in relation to, conventional Australian femininity and the rock industry. Filth, in terms of abject and excessive elements, personae, and processes characterising the punk self, and fury, as this subject’s central type of affect, are means to articulate the making and unmaking of the female musician’s self as monstrous. Analogous to their stage work, Amphlett’s and Horne’s textual selves recruit and exploit a typically masculine set of codes to perform a novel subject of music: the female post-punk singer. Both Amphlett and Horne thereby write in a fraught space—an industry just starting to admit women in less conventional terms—to write a liminal self: one partly created by myths—some self-created, others externally imposed.'

Of Witches and Monsters, the Filth and the Fury : Two Australian Women’s Post-Punk Autobiographies Margaret Henderson , 2020 single work criticism
— Appears in: JASAL , vol. 20 no. 1 2020;

'By performing a feminist textual analysis of these two autobiographies, I examine the nature of the intersections between the putative liberations for women afforded by punk and post-punk music, and autobiography as a textual performance of the self. In addition, a reading of these autobiographies enables me to address questions of national context. I argue that, in an echo of Julian Temple’s ferocious documentary of the Sex Pistols, The Filth and the Fury, the characteristically punk thematics of filth and fury enable these autobiographies to narrate the narrators’ rejection of, and consequent sense of monstrosity in relation to, conventional Australian femininity and the rock industry. Filth, in terms of abject and excessive elements, personae, and processes characterising the punk self, and fury, as this subject’s central type of affect, are means to articulate the making and unmaking of the female musician’s self as monstrous. Analogous to their stage work, Amphlett’s and Horne’s textual selves recruit and exploit a typically masculine set of codes to perform a novel subject of music: the female post-punk singer. Both Amphlett and Horne thereby write in a fraught space—an industry just starting to admit women in less conventional terms—to write a liminal self: one partly created by myths—some self-created, others externally imposed.'

Last amended 1 Feb 2023 14:17:42
X