Carolyn Masel Carolyn Masel i(A15130 works by)
Gender: Female
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Works By

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1 y separately published work icon Singing in Each Cell Carolyn Masel , Port Adelaide : Picaro Press , 2023 27204654 2023 selected work poetry
1 Lord Howe Island i "In 1918 ravenous rats and mice", Carolyn Masel , 2022 single work poetry
— Appears in: Arena Quarterly , Spring no. 11 2022; (p. 92)
1 Poverty Theology i "Was it bats in wildlife markets", Carolyn Masel , 2022 single work poetry
— Appears in: Arena Quarterly , Spring no. 11 2022; (p. 92)
1 Discoveries and Cover-ups i "They wouldn’t tell us where he’d gone.", Carolyn Masel , 2022 single work poetry
— Appears in: Arena Quarterly , Spring no. 11 2022; (p. 92)
1 Black Summer Reflections, a 2020 Looking Glass Carolyn Masel , 2022 sequence poetry
— Appears in: Arena Quarterly , Spring no. 11 2022; (p. 92)
1 My Father’s Dream i "He who studied Latin to the end of his school days", Carolyn Masel , 2021 single work poetry
— Appears in: Teesta Review : A Journal of Poetry , May vol. 4 no. 1 2021;
1 First Game i "Rayman II –", Carolyn Masel , 2021 single work poetry
— Appears in: Cordite Poetry Review , August no. 102 2021;
1 Prometheus i "Look at the maps! you said.", Carolyn Masel , 2020 single work poetry
— Appears in: I Protest! Poems of Dissent 2020; (p. 72)
1 Plant Riddle #3 i "They told us all about the insect", Carolyn Masel , 2020 single work poetry
— Appears in: Plumwood Mountain: An Australian Journal of Ecopoetry and Ecopoetics , March vol. 7 no. 1 2020;
1 y separately published work icon Solace : Poems from the 2019 ACU Prize for Poetry Chris Wallace-Crabbe (editor), Margot Hillel (editor), Carolyn Masel (editor), Melbourne : Australian Catholic University , 2019 18500362 2019 anthology poetry
1 y separately published work icon Moorings Carolyn Masel , Port Adelaide : Ginninderra Press , 2019 15964698 2019 selected work poetry

'This collection brings together Masel’s best work from the last forty years. Jagged and dramatic, these mostly free-verse lyrics direct their taut, plain-speaking voices toward discovery and, sometimes, wisdom. The poems are organised in sections – Returns, Exile, Moorings – suggesting a general move backwards in time. Returns is the largest section and comprises a range of emotions and subjects: a tree full of currawongs, teaching, friendship, love, ageing, dreams. Longer poems take on events and social issues – the difficulty of imagining a home where a woman alone can feel safe, the epidemic of youth suicides, the plight of refugees, the destruction of the World Trade Center. The Exile poems, set in England and Canada, ask questions about newness and familiarity, the rhythm of remembering and forgetting, what should be kept and what jettisoned. With the Moorings section we are returned to Melbourne, family and formative experiences, disobedience and daring. For all its scope and variety, Moorings is a remarkably unified collection, accessible and powerful.'  (Publication summary)

1 In Spaces between i "She sits meekly in the back,", Carolyn Masel , 2018 single work poetry
— Appears in: Wild 2018; (p. 24)
1 Fleurs Du Mal (or Mrs Horner Shows Concern about the Fruit) i "In vestigial darkness you might glimpse", Carolyn Masel , 2018 single work poetry
— Appears in: Eureka Street , 6 May vol. 28 no. 9 2018;
1 Coventry Carol i "A banksia flower spike", Carolyn Masel , 2018 single work poetry
— Appears in: Eureka Street , 6 May vol. 28 no. 9 2018;
1 y separately published work icon A Book of Hours Carolyn Masel , Port Adelaide : Ginninderra Press , 2017 11973337 2017 selected work poetry

'Most of these poems were written between 2012 and 2015 and reflect life in the City of Yarra, where I work, and through which I often walk. The window of my office looked directly out at Atherton Gardens, so that building and the people in it and the streets around it have been at the centre of my thoughts. I have avoided trying to speak for any actual person, but instead to think of the situations and observations of a variety of characters. The sequence is, above all, an homage to an area of Melbourne and the people who live in it. '  (Publication summary)

1 Place, History and Story: Tony Birch and the Yarra River Carolyn Masel , Matthew Ryan , 2016 single work criticism
— Appears in: Australian Literary Studies , 2016 vol. 31 no. 2 2016;
'This essay examines the three Yarra River stories in Tony Birch’s short fiction collections. ‘The Sea of Tranquillity’ ‘The Chocolate Empire’ and ‘The Toecutters’ all question the historical inscription of the Yarra that favours the culturally dominant account by placing it in relation to alternative stories. The torsion engendered by this questioning is apparent in the stories themselves. They are simultaneously discussions of class-based social exclusion and counter-stories of settlement; settled places are re-inscribed with meanings and histories obscured by the dominant account of ‘settlement’, which it thus critiques. The structure of the contemporary short story, to reveal a truth buried under the mundane details of life, aids Birch’s purpose. The form enacts a propensity to doubling, twinning and contrasting the familiar and the strange, or being at once in the dominant reality of the settler-colonial culture and, by social imposition, in the situation of the other. Hence, Birch’s stories open into narratives drawn from a number of socially marginalised groups, according to class, gender, geography or age. In Birch’s own account of his disillusionment with the institutionally-based academic writing of the post-history wars environment he speaks of embarking on an alternative project to ‘put meat on the bones of history’, a project which involves turning from the Historian’s history to ‘the way that fiction deals with the past and its role in documenting history’: to bring history and story together (‘Trouble’ 235, 241). This essay traces that process in the three Yarra stories.' (Abstract)
1 y separately published work icon Loving Kindness : 2016 ACU Prize for Poetry Carolyn Masel (editor), Melbourne : Australian Catholic University , 2016 18524709 2016 anthology poetry
1 Closure, Completion and Memory in Harland's Half Acre : Phil's Story Carolyn Masel , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 2 2014;
'Most of the excellent critical work on this novel deals with the topic that Malouf has identified as its central issue. Frank Harland’s original plan is to buy back his family’s land, lost through gambling and general carelessness, using the proceeds of the sale of his paintings. His thinking has to be radically altered after the death of his nephew and heir. Possession, he comes to realise, is an imaginative thing rather than a physical thing. This essay does not repeat or summarise previous critical contributions, which trace conceptions of non-Indigenous ownership all the way from terra nullius to the ethical ambitions of whiteness studies. Instead, focusing solely on Phil’s story, it deals with the construction and function of memory in the work and on the building of an emotional climax close to its end. It includes discussion of characters’ particular memories, the creation of verbal memories for the reader, and the use of memory to intensify emotion at strategic points of the novel, especially the climax.' (Publication abstract)
1 Aerial Footage i "A French philosopher went up the Tower", Carolyn Masel , 2013 single work poetry
— Appears in: Eureka Street , 1 November vol. 23 no. 21 2013; (p. 16-17)
1 Spring in Melbourne with Doves Carolyn Masel , 2013 single work poetry
— Appears in: Eureka Street , 1 November vol. 23 no. 21 2013; (p. 15-16)
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