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Frictions: An Anthology of Fiction by Women marks the distance Australian women have travelled as writers.
Contents
* Contents derived from the Melbourne,Victoria,:Sybylla Press,1982 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Introduction : From There to Here and Then to Now : A Very Rough GuideAnna Gibbs,
2013single work criticism — Appears in:
TEXT Special Issue Website Series,17 April
no.
172013;'The project represented by this collection of work was conceived in 2009, by Moya
Costello who pushed the other editors to act on our previous discussions, as a
'landmark anthology' of Australian women's experimental writing in the vein of the
maps made by collections of the 1970s and 1980s: Mother, I'm rooted (edited by Kate
Jennings, 1975) which was the first collection of poetry by Australian women, and
F(r)ictions (edited by Anna Gibbs and Alison Tilson, 1982)1
. To our dismay, the
current state of print publishing in Australia made such an enterprise impossible, as
our proposal was rejected everywhere we sent it, mostly it seems because such
collections have gone out of favour, at least with publishers. In the face of these
refusals, we decided to opt for a journal publication, and this journal, TEXT, the
journal of the Association of Australasian Writing Programs, was an obvious choice,
since it has a wide - and growing - readership both in (and outside) universities, and,
when it comes to experimental writing, teachers are always seeking examples for use
in class. Publishing in a journal, however, meant we had to cull all the work which
had been previously published, and this means that many writers whose work would
otherwise have been part of this collection are not represented here, including some of
the major figures in Australian experimental writing (Alexis Wright and Marion May
Campbell, to name just two). This collection also has a strong bias towards work from
Sydney, Adelaide and Melbourne, mostly by virtue of the locations and histories of its
editors, but also because we had almost no response to our call from elsewhere in
Australia. Nor is there the avowedly Aboriginal work we had hoped for: again, our
own connections were perhaps one limitation, but it is also likely that these writers
have other priorities than experimentation (sovereignty and justice, for example) or
anthology projects such as this one. The work included here is not blind refereed, but
every piece was read and discussed by all four editors, and editorial work of one sort
or another was performed on most of the contributions.' (Author's introduction)
Introduction : From There to Here and Then to Now : A Very Rough GuideAnna Gibbs,
2013single work criticism — Appears in:
TEXT Special Issue Website Series,17 April
no.
172013;'The project represented by this collection of work was conceived in 2009, by Moya
Costello who pushed the other editors to act on our previous discussions, as a
'landmark anthology' of Australian women's experimental writing in the vein of the
maps made by collections of the 1970s and 1980s: Mother, I'm rooted (edited by Kate
Jennings, 1975) which was the first collection of poetry by Australian women, and
F(r)ictions (edited by Anna Gibbs and Alison Tilson, 1982)1
. To our dismay, the
current state of print publishing in Australia made such an enterprise impossible, as
our proposal was rejected everywhere we sent it, mostly it seems because such
collections have gone out of favour, at least with publishers. In the face of these
refusals, we decided to opt for a journal publication, and this journal, TEXT, the
journal of the Association of Australasian Writing Programs, was an obvious choice,
since it has a wide - and growing - readership both in (and outside) universities, and,
when it comes to experimental writing, teachers are always seeking examples for use
in class. Publishing in a journal, however, meant we had to cull all the work which
had been previously published, and this means that many writers whose work would
otherwise have been part of this collection are not represented here, including some of
the major figures in Australian experimental writing (Alexis Wright and Marion May
Campbell, to name just two). This collection also has a strong bias towards work from
Sydney, Adelaide and Melbourne, mostly by virtue of the locations and histories of its
editors, but also because we had almost no response to our call from elsewhere in
Australia. Nor is there the avowedly Aboriginal work we had hoped for: again, our
own connections were perhaps one limitation, but it is also likely that these writers
have other priorities than experimentation (sovereignty and justice, for example) or
anthology projects such as this one. The work included here is not blind refereed, but
every piece was read and discussed by all four editors, and editorial work of one sort
or another was performed on most of the contributions.' (Author's introduction)
