y separately published work icon Wyrd single work   novel   young adult  
Issue Details: First known date: 1993... 1993 Wyrd
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Publication Details of Only Known VersionEarliest 2 Known Versions of

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Works about this Work

Living History Fiction Kim Wilson , 2010 single work criticism
— Appears in: Papers : Explorations into Children's Literature , vol. 20 no. 1 2010; (p. 77-86) 'During my research into historical fiction for children and young adult readers I came across a range of texts that relied on a living or lived experience of history to frame the historical story. These novels were similar to the time-slip narrative; however, not all examples used the traditional convention of time-slippage. I wanted to bundle these novels together - 'time-slip' novels included - as examples of 'living history' narratives because they appeared from the outset as a distinct literary form requiring particular reading strategies.
These texts, which I will refer to as Living history novels, require readers to align uncritically with modern perception. Readers are persuasively invited to assume that the modern characters' perception of the past is authentic because it has been formed by a lived experience of history. In Living history novels, readers are positioned to perceive both the strengths and weaknesses of past and present times, ultimately reconciling the two in a present that faces chronologically forwards. Modern focalising characters in Living history fiction place modern perception in a superior relationship to that of the past.
This sub-genre of historical novels is distinctive in its strong and consistent modern character focalisation and point of view. The Living history novel creates a confluence of past and present, be it physically or psychically. Characters are variously conveyed from a generalised present, or past, to an explicit historical period or event. The Living history novel is distinctive in its intense character introversion, quest journey and self-discovery. The most important outcome of the living history experience is that characters learn something significant about themselves. Because the story is about the modern character's quest and self realisation, the past is consistently perceived from their point of view. Modern characters are transported in time and readers are only rarely invited to see the past from a past point of view' (Author's abstract).
Untitled Jean Yates , 2006 single work review
— Appears in: Books from Our Backyard : Must-Read Books from Queensland 2006; (p. 80)
— Review of Wyrd Sue Gough , 1993 single work novel
Untitled Vicki Bowden , 1994 single work review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 8 no. 1 1994; (p. 10-11)
— Review of Wyrd Sue Gough , 1993 single work novel
Untitled Kim Caraher , 1994 single work review
— Appears in: Magpies : Talking About Books for Children , July vol. 9 no. 3 1994; (p. 34)
— Review of Wyrd Sue Gough , 1993 single work novel
Untitled Shelda Debowski , 1994 single work review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , May vol. 38 no. 2 1994; (p. 28-29)
— Review of Wyrd Sue Gough , 1993 single work novel
Untitled Shelda Debowski , 1994 single work review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , May vol. 38 no. 2 1994; (p. 28-29)
— Review of Wyrd Sue Gough , 1993 single work novel
Untitled Kim Caraher , 1994 single work review
— Appears in: Magpies : Talking About Books for Children , July vol. 9 no. 3 1994; (p. 34)
— Review of Wyrd Sue Gough , 1993 single work novel
Untitled Jean Yates , 2006 single work review
— Appears in: Books from Our Backyard : Must-Read Books from Queensland 2006; (p. 80)
— Review of Wyrd Sue Gough , 1993 single work novel
Untitled Vicki Bowden , 1994 single work review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 8 no. 1 1994; (p. 10-11)
— Review of Wyrd Sue Gough , 1993 single work novel
From the Word Go : Books for Younger Readers Stephen Matthews , 1993 single work review
— Appears in: Australian Book Review , December-January (1993-1994) no. 157 1993; (p. 69-70)
— Review of The Secret Sandwich Robert Morrison , 1993 single work children's fiction ; Metis, The Octopus and the Olive Tree Jena Woodhouse , 1993 single work children's fiction ; Wyrd Sue Gough , 1993 single work novel ; Going Home Alan Collins , 1993 single work novel ; Jacaranda Shadow Patricia Bernard , 1993 single work novel ; The Second-Hand Tongue, and Other Hilarious Stories Garry Hurle , 1993 selected work children's fiction
Living History Fiction Kim Wilson , 2010 single work criticism
— Appears in: Papers : Explorations into Children's Literature , vol. 20 no. 1 2010; (p. 77-86) 'During my research into historical fiction for children and young adult readers I came across a range of texts that relied on a living or lived experience of history to frame the historical story. These novels were similar to the time-slip narrative; however, not all examples used the traditional convention of time-slippage. I wanted to bundle these novels together - 'time-slip' novels included - as examples of 'living history' narratives because they appeared from the outset as a distinct literary form requiring particular reading strategies.
These texts, which I will refer to as Living history novels, require readers to align uncritically with modern perception. Readers are persuasively invited to assume that the modern characters' perception of the past is authentic because it has been formed by a lived experience of history. In Living history novels, readers are positioned to perceive both the strengths and weaknesses of past and present times, ultimately reconciling the two in a present that faces chronologically forwards. Modern focalising characters in Living history fiction place modern perception in a superior relationship to that of the past.
This sub-genre of historical novels is distinctive in its strong and consistent modern character focalisation and point of view. The Living history novel creates a confluence of past and present, be it physically or psychically. Characters are variously conveyed from a generalised present, or past, to an explicit historical period or event. The Living history novel is distinctive in its intense character introversion, quest journey and self-discovery. The most important outcome of the living history experience is that characters learn something significant about themselves. Because the story is about the modern character's quest and self realisation, the past is consistently perceived from their point of view. Modern characters are transported in time and readers are only rarely invited to see the past from a past point of view' (Author's abstract).
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Last amended 19 Sep 2001 15:36:31
Subjects:
  • c
    France,
    c
    Western Europe, Europe,
  • Kings Cross, Kings Cross area, Inner Sydney, Sydney, New South Wales,
Settings:
  • 1100-1199
  • 1990s
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