Carolyn Beasley Carolyn Beasley i(A86637 works by)
Gender: Female
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Works By

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1 Writing a Murderous Mother : A Case Study on the Critical Applications of Creative Writing Research to Crime Fiction Carolyn Beasley , 2016 single work criticism
— Appears in: TEXT Special Issue Website Series , October no. 37 2016; 'Creative writing research offers a unique opportunity to draw together threads of inquiry from the realms of the creative, the practical and the critical (Kroll and Harper 2013). This article explores a writer’s interrogation of this process and how it was applied to creating representations of a murderous mother in a crime fiction narrative. Crime fiction provides a natural space for intersections of the creative, practical and critical due to the genre’s tendency towards social critique (Moore 2006) and the opportunity it offers to question the representations and cultural assumptions that surround us. This article aims to unpack these intersections and ask how common representations of the murderous mother can be deconstructed, challenged and repositioned through first separating, and then realigning, critical and creative processes. (Publication abstract)'
1 Teaching behind Bars : Challenges and Solutions for Creative Writing Classes in Prison Carolyn Beasley , 2015 single work criticism
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 19 no. 2 2015;

'The prison creative writing class offers many benefits for the students and the instructor. Research has found that inmates in writing programs report improved self-image and reduced emotional stress, an increase in literacy, and more post-release opportunities. For the instructor, the reward can reside in the experience of helping prisoners develop practical compositional and coping skills that can lead to publication, performance, and outside study. However, the delivery of writing programs in a volatile, high security environment is a challenging endeavour that requires specific guidance.

'This paper offers insights gained from implementing and maintaining a creative writing postgraduate program inside an Australian maximum security women’s prison over a period of six years. After opening the discussion with a brief overview of prisoners’ rights to education, it evaluates the nature of prison education and arts education in Australia. This is followed by an identification of the challenges of teaching inside a prison regime and an exploration of how these were resolved.' (Publication summary)
1 [Untitled] Carolyn Beasley , 2014 single work review
— Appears in: Australasian Journal of Popular Culture , March vol. 3 no. 1 2014; (p. 139-143)
— Review of The Richmond Conspiracy Andrew Grimes , 2012 single work novel
1 y separately published work icon The Fingerprint Thief Carolyn Beasley , St Kilda : Sniper Books , 2013 10237021 2013 single work novel crime

Sarah Arden is a forensic technician with a special talent and a medical abnormality. She can profile a person’s passions from a fingerprint, yet due to disease has no classifiable fingerprints of her own. On a cold winter night, Sarah is called to Melbourne’s Williamstown Beach where a young woman has been murdered. When Sarah attempts to print the girl, she notices that the fingerprints have been removed. Sarah not only identifies the girl but discovers that beneath the facade of the young woman’s life as an environmental activist and anthropology student lies a web of ritual, secret protest groups, and a fractured family determined to destroy each other at any cost. In a city of transition, where progress takes precedent over history, rivers mysteriously flow backwards and forgotten citizens turn to the superstitions of the past, Sarah discovers she is facing an evil that has broken the most sacred law of nature

Source: Publisher's Blurb
1 Ganging up in the Entrepreneurial City : Melbourne, the Casino and the Underbelly Franchise Jason Bainbridge , Carolyn Beasley , Craig McIntosh , 2012 single work criticism
— Appears in: Studies in Australasian Cinema , March vol. 5 no. 3 2012; (p. 265-279) 'Underbelly (2008), Screentime's $10.4 million, thirteen-part dramatization of the so-called 'Gangland Wars' from 1995 to 2004, tracing the rise and fall of career criminal Carl Williams, showcases a Melbourne largely unseen on the screen. That so much of Underbelly is shot on location means that its sets are the real spaces and places of Melbourne, overlaid with the scripted drama of what may have occurred there. This provides a new way of mapping the city, crime by crime, over time, a new way of understanding the Melbourne that the Kennett Government remade throughout the 1990s as an 'entrepreneurial city'. It is our argument that it is this 'entrepreneurial' Melbourne that is being re-presented in Underbelly. Kennett's entrepreneurial city is the context in which Williams operates and the philosophy to which he ascribes during his takeover of Melbourne's drug trade. Drawing on examples from the 2008 Underbelly series, newspaper reports, Silvester and Rule's 2008 repackaging of their underworld reports and a mixture of neo-liberal and entrepreneurial theory, this article explores Melbourne's construction as an entrepreneurial city and how this has been represented, repackaged and experienced in a way Kennett himself could never have foreseen, through the Underbelly television series and the new markets this has opened.' (Editor's abstract)
1 The Violin Carolyn Beasley , 2004 single work short story
— Appears in: Polestar , no. 7 2004; (p. 14-19)
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