Mireille Juchau Mireille Juchau i(A20159 works by)
Born: Established: 1969 Sydney, New South Wales, ;
Gender: Female
Heritage: Jewish
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Works By

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1 Bonny Cassidy Monument Mireille Juchau , 2024 single work review
— Appears in: The Saturday Paper , 11 March 2024;

— Review of Monument Bonny Cassidy , 2024 selected work poetry prose

'Years ago, in a local medical pathology museum, I saw a large human bone with the remains of the spear that pierced it. Ever since I’ve wondered about that specimen’s history, and the label that failed to describe it.' (Publication summary)

1 “The Cut Is Tangible” : A Conversation with Anwen Crawford Mireille Juchau (interviewer), 2022 single work interview
— Appears in: Los Angeles Review of Books , 3 August 2022;
'DURING THE SENSORY MONOTONE of Sydney’s lockdown, I failed to finish several contemporary novels that registered no difference between quotidian matters and violence or suffering. Everyone I knew was one click from COVID death tolls as they filtered Zoom to blur domestic chaos. In literature, I could no longer narcotically scroll. Then I read Anwen Crawford’s No Document (2022) and felt the sharp cut that is part of the book’s compositional strategy. Here was an astute awareness of the violence of particular juxtapositions — refugees and nationalism, borders and the state — and an insight into protest cant like “not in our name.” If we’re made and unmade by documents, as Crawford suggests in her sampling of official reports and state directives, then we can hardly ignore how our own words fall on the page. No Document’s use of white space and lineation, its ethically attuned emphasis, is exhilarating. Its shifting tone is wry, bracing, and affecting.' (Introduction)

 
1 Only One Refused Mireille Juchau , 2022 single work essay
— Appears in: Heat (Series 3) , no. 1 2022; (p. 10-30)
'EVEN AS I UNCOVER materials that suggest Renate's appearance - a portrait of her sister on an East Berlin balcony in 1961, prisoner records from age sixteen till liberation, a Hollerith card that catalogues her physical features - she remains stubbornly abstract, a dream that can't be retrieved. I scan the women photo-graphed at the Mauthausen subcamp and the summer women displaced in southern Italy though I can't possibly recognise the one I'm looking for - Renate Grau. She's an assemblage of Nazi documents, a set of symptoms in a reparations claim, one name on the postwar lists of survivors and displaced persons. Who can make a person from such traces? Despite this scarcity, despite five years of searching, I'm driven to discover more. Sometimes I'm unsure if I'm summoning Renate - an obscuring aura that heralds a migraine, an unquantifiable sensory fact. Sometimes our positions reverse and I feel my self dissipate as her form materialises out of the past. Then I'm haunted, in the ways Avery Gordon describes it, as unresolved social violence erupts directly or obliquely, and `...home becomes unfamiliar...your bearings on the world lose direction...the over-and-done-with comes alive...what's been in your blind field comes into view.'  (Introduction)
1 Housemaid Demons i "Glum diamonds are solitary", Mireille Juchau , 2020 single work poetry
— Appears in: Cordite Poetry Review , October no. 97 and 98 2020;
1 Two Bloods Mireille Juchau , 2019 single work essay
— Appears in: Meanjin Online 2019;
1 It Won’t Love You Back : An Interview with Maria Tumarkin Mireille Juchau (interviewer), 2019 single work interview
— Appears in: Los Angeles Review of Books , September 2019;

'MARIA TUMARKIN’s fourth book, Axiomatic (Transit Books, 2019), is an urgent and formally daring work of nonfiction about criminal injustice, war trauma, exile, youth suicide, migration, friendship, and institutional memory. Her previous works — on the “morally ambivalent” nature of courage (Courage, 2007), on the aftermath of violence and war (Traumascapes, 2005), and on returning to the Ukraine of her birth (Otherland, 2010) — are each characterized by a burning attention to suffering and resilience and a potent, elastic narrative voice. As with any writer of note, Tumarkin’s distinctive style is hard to quantify — she writes with academic rigor but eschews theory and jargon; she’s neither a dispassionate observer nor confidante, but her tone has heat and intimacy; she’s unafraid of emotion, and her writing is animated with the same generosity and enthusiasm she brings to friendship, which also happens to be a recurring subject in her work. I interviewed Maria as she prepared to travel for Axiomatic’s American launch.' (Introduction)

1 The Infinite in Everything : Patrick White’s Riders in the Chariot Mireille Juchau , 2018 single work essay
— Appears in: Sydney Review of Books , July 2018;

'During my childhood in Castle Hill, a western Sydney suburb of housing developments, colonial weatherboards and bush blocks, I walked each week from school to piano lessons. The route took me down Showground Road where Patrick White and his partner Manoly bought six acres and a bungalow—‘a bit of Strathfield in a paddock’—in 1948. They named their house Dogwoods, and lived there for eighteen years.' (Introduction)

1 After the Strider, the Stranger Mireille Juchau , 2018 single work short story
— Appears in: Reading the Landscape : A Celebration of Australian Writing 2018; (p. 11-27)
1 18 y separately published work icon The World Without Us Mireille Juchau , London : Bloomsbury , 2015 8766255 2015 single work novel

'It has been six months since Tess Müller stopped speaking. Her silence is baffling to her parents, her teachers and her younger sister Meg, but the more urgent mystery for both girls is where their mother, Evangeline, goes each day, pushing an empty pram and returning home wet, muddy and dishevelled.

'Their father, Stefan, struggling with his own losses, tends to his apiary and tries to understand why his bees are disappearing. But after he discovers a car wreck and human remains on their farm, old secrets emerge to threaten the fragile family.

'One day Tess's teacher Jim encounters Evangeline by the wild Repentance River. Jim is in flight from his own troubles in Sydney, and Evangeline, raised in a mountain commune and bearing the scars of the fire that destroyed it, is a puzzle he longs to solve.

'As the rainforest trees are felled and the lakes fill with run-off from the expanding mines, Tess watches the landscape of her family undergo shifts of its own. A storm is coming and the Müllers are in its path.

'Sometimes we must confront what has been lost so that we can know the solace of being found.

'The World Without Us is a beautifully told story of secrets and survival, family and community, loss and renewal.' (Publication summary)

1 The Weather Inside Mireille Juchau , 2014 single work short story
— Appears in: Meanjin , Spring vol. 72 no. 4 2014; (p. 124-128)
'Geoffrey Godbold’s pictured in the paper with the two-headed bass he caught by Emigrant Crossing. The creature has a violet hue, and tarnished scales. It’s chemical run-o!, say the townspeople, from the macadamia farms. It’s the Carbendazim. It’s the rain, washing poisons from the gas mines downstream.' As the environment around them changes, a family struggles to take care of their sick child.
1 An Emotional Portrait of Loss Mireille Juchau , 2013 single work review
— Appears in: The Sydney Morning Herald , 6-7 July 2013; (p. 33)

— Review of A Double Spring : A Year of Tragedy, Grief and Love Juliet Darling , 2013 single work autobiography
1 Writing Class: On an Aimless Wander, a Clear Path Reveals Itself Mireille Juchau , 2011 single work column
— Appears in: The Sydney Morning Herald , 9 - 10 July 2011; (p. 39)
1 Habitat Group Mireille Juchau , 2010 single work short story
— Appears in: Heat , no. 22 (New Series) 2010; (p. 79-91)
1 Metaphysical Dread Mireille Juchau , 2008 single work essay
— Appears in: The Weekend Australian , 16-17 August 2008; (p. 13)
Mireille Juchau writes about the complex literary repsonse of children of Holocaust survivors.
1 The Bone of My Side, Alive Mireille Juchau , 2007 single work autobiography
— Appears in: Heat , no. 15 (New Series) 2007; (p. 61-80)
1 8 y separately published work icon Burning In Mireille Juchau , Artarmon : Giramondo Publishing , 2007 Z1432957 2007 single work novel (taught in 2 units) In her late twenties, Martine Hartmann moves from Sydney to New York to pursue her career as a photographer, leaving behind her mother Lotte, a Holocaust survivor. Nine years later, Martine's daughter Ruby goes missing in Central Park. Ruby's disappearance throws Martine into an emotional struggle which threatens to overwhelm her, but which also, in time, brings her to understand Lotte's anxieties and inhibitions, and to discover the act of abandonment at their heart. - back cover
1 On Reviewing Sharpie Culture Mireille Juchau , 2004 single work correspondence
— Appears in: The Age , 6 November 2004; (p. 8)
1 White Gifts Mireille Juchau , 2003 single work drama
— Appears in: Heat , no. 5 (New Series) 2003; (p. 89-99)
1 1 Altered States Maryanne Stewart , Mireille Juchau , 2003 single work drama Altered States is a work of theatre with sound and video installation, that explores identity and place. featuring performers aged under 25 years from both Brisbane and Melbourne working under the guidance of professional artists.
1 Berlin Story (from a work-in-process) Mireille Juchau , 2002 extract autobiography
— Appears in: Meanjin , vol. 61 no. 3 2002; (p. 199-210)
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