Tap single work   short story  
Issue Details: First known date: 1988... 1988 Tap
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Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon The Difference to Me : Prize Winning Stories Garry Disher , Sydney : Angus and Robertson , 1988 Z225883 1988 selected work short story

    'A collection of award-winning short stories by Garry Disher spanning the continents of Australia, Africa and Europe, the extremes of loneliness and connection, and all the relationships between people and places.

    'Stories in this collection have won the National Short Story Award, the Alan Marshall Award and the Henry Lawson Award, and have been published and broadcast across Australia and in the UK, Canada and Denmark.'

    Source : publisher's blurb (Ligature)

    Sydney : Angus and Robertson , 1988
    pg. 1-14
  • Appears in:
    y separately published work icon Uneasy Truces Karen Lamb (editor), Ringwood : Penguin , 1990 Z423607 1990 anthology short story Ringwood : Penguin , 1990 pg. 143-153

Works about this Work

A Rare Brand of Intimacy : Reconsidering the Structure and Unique Effect of the Short Story Carolyne Lee , 2009 single work criticism
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , October vol. 13 no. 2 2009;
'In this paper I argue that the short story is a unique fictional form, with its own specific conventions, knowledge of which could usefully inform the teaching of short story writing. There has been very little attempt to explain how a short story means (as opposed to what it means) and it is only by articulating and analyzing specific short story conventions that we can move towards such an explanation. The main 'convention', I argue, concerns the reader's response to the short story: a response that occurs in a context of brief intensity and heightened involvement (due to the aesthetics of brevity), with the story acquired and retained whole' in the reader's memory. This in turn encourages readers to appropriate the fictive world as rendered through one or more represented subjectivities inscribed in the narrative. I have termed this appropriation the 'narratorial presence' of the short story, and I argue that it is the enabling effect of the tale's telling. It occurs in different ways in different stories, predominantly in response to the mix of specific devices used to render different narrative perspectives. Performing analyses of Joyce's 'The dead' and Hemingway's 'The killers', and also briefly examining what I see as a Hemingway-esque Australian short story, 'Tap' by Garry Disher, I demonstrate how each story's structure 'manages' all other aspects of the narrative, facilitating the effect of 'narratorial presence'. A recognition of this effect could, I suggest, renew discussion of, or perhaps even initiate the construction of a new framework for the teaching of short story writing.'
A Rare Brand of Intimacy : Reconsidering the Structure and Unique Effect of the Short Story Carolyne Lee , 2009 single work criticism
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , October vol. 13 no. 2 2009;
'In this paper I argue that the short story is a unique fictional form, with its own specific conventions, knowledge of which could usefully inform the teaching of short story writing. There has been very little attempt to explain how a short story means (as opposed to what it means) and it is only by articulating and analyzing specific short story conventions that we can move towards such an explanation. The main 'convention', I argue, concerns the reader's response to the short story: a response that occurs in a context of brief intensity and heightened involvement (due to the aesthetics of brevity), with the story acquired and retained whole' in the reader's memory. This in turn encourages readers to appropriate the fictive world as rendered through one or more represented subjectivities inscribed in the narrative. I have termed this appropriation the 'narratorial presence' of the short story, and I argue that it is the enabling effect of the tale's telling. It occurs in different ways in different stories, predominantly in response to the mix of specific devices used to render different narrative perspectives. Performing analyses of Joyce's 'The dead' and Hemingway's 'The killers', and also briefly examining what I see as a Hemingway-esque Australian short story, 'Tap' by Garry Disher, I demonstrate how each story's structure 'manages' all other aspects of the narrative, facilitating the effect of 'narratorial presence'. A recognition of this effect could, I suggest, renew discussion of, or perhaps even initiate the construction of a new framework for the teaching of short story writing.'
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