Issue Details: First known date: 2003... 2003 A Place on Earth : An Anthology of Nature Writing from Australia and North America
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Notes

  • Dedication: For Maree
  • Contents indexed selectively.
  • Includes editor's note on variations in language usage, pages 21-23.

Contents

* Contents derived from the Lincoln, Nebraska,
c
United States of America (USA),
c
Americas,
:
Sydney, New South Wales,:University of Nebraska Press ,University of New South Wales Press , 2003 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Belonging to Here: An Introduction, Mark Tredinnick , single work essay (p. 25-47)
Symptoms of Place, Barbara Blackman , single work essay (p. 49-54)
Beneath Capital Hill : The Unconformities of Place and Self, John Cameron , single work essay (p. 55-63)
The Centre, Charmian Clift , single work prose (p. 65-68)
Cooper Dreaming, Tom Griffiths , single work essay (p. 81-89)
True Blue Ultramarine, Ashley Hay , single work essay (p. 101-106)
The Red Steer at Rat Bay, P. R. Hay , single work essay (p. 107-112)
Tangibles, William J. Lines , single work essay (p. 147-157)
Home Ground, Michael McCoy , single work essay (p. 177-180)
A Rogaine, Patrice Newell , single work essay (p. 193-197)
My Places, Eric Rolls , single work essay (p. 207-213)
Landing, Tim Winton , single work essay (p. 265-268)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Homing Adele Dumont , 2021 single work prose
— Appears in: Meanjin , Winter vol. 80 no. 2 2021;

'Occasionally I go bush with a friend, and as we walk she will—with little apparent effort—take in the lie of the land. When we break to catch our breath, or to check our ankles for leeches, or to fix an undone shoelace, she will have counted how many creeks we’ve crossed, will have noticed how the steep cliffs and undulating valleys correspond to the contours of our map. With a swivel of her head along the ridgeline, she’ll be able to establish roughly where it is we now are. As though thumbing back through the pages of a just-read chapter, she might trace with her finger the passages we’ve covered: ‘that must be that section of blue gums’ or ‘that’s back where that landslide was’ or ‘here’s when we made a turn for the east’. I, meanwhile, might have noticed globules of blood-red resin weeping from the base of a tree, or have been startled by a black cockatoo winging itself across my path and scoured the ground afterwards for its feathers … but I will mostly be oblivious. The overall shape of the land we’re passing through will remain a blur to me.' (Introduction)

Encounters with Amnesia: Confronting the Ghosts of Australian Landscape Inga Simpson , 2019 single work essay
— Appears in: Griffith Review , January no. 63 2019; (p. 272-281)

'Nature writing has never been more popular. In recent years it has become an international publishing phenomenon, with titles such as Helen Macdonald's 'H is for Hawk' (Jonathan Cape, 2014), Robert Macfarlane's 'Landmarks' (Hamish Hamilton, 2015), Amy Liptrot's 'The Outrun' (Canongate, 2016) and Sy Montgomery's 'How to be a Good Creature' (Houghton Mifflin Harcourt, 2018) scoring significant worldwide success. Australia, too, has its own rich history of nature writing. For more than a century, nature writing was 'the' primary literature for writing the country; a vital part of the ongoing process, for settler-Australians, of coming to feel at home in what were initially unfamiliar environments, and of creating a sense of national identity around them. Yet, today, nature writing is not widely known or understood here, and it's apparent that more Australians have read 'H is for Hawk' (18,000 copies sold so far according to Bookscan) than any of our own contemporary works.' (Publication abstract)

 

Untitled Veronica Brady , 2004 single work review
— Appears in: Southerly , vol. 64 no. 2 2004; (p. 176-182)

— Review of A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003 anthology essay prose
Nonfiction Heather Rose , 2004 single work review
— Appears in: Island , Autumn no. 96 2004; (p. 73-78)

— Review of A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003 anthology essay prose ; Haunted Earth Peter Read , 2003 single work prose
A Deep Sense of Unease Kim Mahood , 2004 single work review
— Appears in: Australian Book Review , February no. 258 2004; (p. 26)

— Review of A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003 anthology essay prose
A Literature Grounded in Place Mark McKenna , 2003 single work review
— Appears in: The Canberra Times , 13 December 2003; (p. 8a)

— Review of A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003 anthology essay prose
Nature Dianne Dempsey , 2003 single work review
— Appears in: The Age , 27 December 2003; (p. 12)

— Review of A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003 anthology essay prose
Spirit Land Gregg Borschmann , 2004 single work review
— Appears in: The Bulletin , 3 February vol. 122 no. 6406 2004; (p. 68-69)

— Review of Haunted Earth Peter Read , 2003 single work prose ; A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003 anthology essay prose
A Deep Sense of Unease Kim Mahood , 2004 single work review
— Appears in: Australian Book Review , February no. 258 2004; (p. 26)

— Review of A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003 anthology essay prose
Nonfiction Heather Rose , 2004 single work review
— Appears in: Island , Autumn no. 96 2004; (p. 73-78)

— Review of A Place on Earth : An Anthology of Nature Writing from Australia and North America 2003 anthology essay prose ; Haunted Earth Peter Read , 2003 single work prose
Encounters with Amnesia: Confronting the Ghosts of Australian Landscape Inga Simpson , 2019 single work essay
— Appears in: Griffith Review , January no. 63 2019; (p. 272-281)

'Nature writing has never been more popular. In recent years it has become an international publishing phenomenon, with titles such as Helen Macdonald's 'H is for Hawk' (Jonathan Cape, 2014), Robert Macfarlane's 'Landmarks' (Hamish Hamilton, 2015), Amy Liptrot's 'The Outrun' (Canongate, 2016) and Sy Montgomery's 'How to be a Good Creature' (Houghton Mifflin Harcourt, 2018) scoring significant worldwide success. Australia, too, has its own rich history of nature writing. For more than a century, nature writing was 'the' primary literature for writing the country; a vital part of the ongoing process, for settler-Australians, of coming to feel at home in what were initially unfamiliar environments, and of creating a sense of national identity around them. Yet, today, nature writing is not widely known or understood here, and it's apparent that more Australians have read 'H is for Hawk' (18,000 copies sold so far according to Bookscan) than any of our own contemporary works.' (Publication abstract)

 

Homing Adele Dumont , 2021 single work prose
— Appears in: Meanjin , Winter vol. 80 no. 2 2021;

'Occasionally I go bush with a friend, and as we walk she will—with little apparent effort—take in the lie of the land. When we break to catch our breath, or to check our ankles for leeches, or to fix an undone shoelace, she will have counted how many creeks we’ve crossed, will have noticed how the steep cliffs and undulating valleys correspond to the contours of our map. With a swivel of her head along the ridgeline, she’ll be able to establish roughly where it is we now are. As though thumbing back through the pages of a just-read chapter, she might trace with her finger the passages we’ve covered: ‘that must be that section of blue gums’ or ‘that’s back where that landslide was’ or ‘here’s when we made a turn for the east’. I, meanwhile, might have noticed globules of blood-red resin weeping from the base of a tree, or have been startled by a black cockatoo winging itself across my path and scoured the ground afterwards for its feathers … but I will mostly be oblivious. The overall shape of the land we’re passing through will remain a blur to me.' (Introduction)

Last amended 14 Feb 2005 09:44:53
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