'Tender Morsels is a dark and vivid story, set in two worlds and worrying at the border between them. It is a gloriously told tale of journeys and transformations, penetrating the boundaries between male and female, reality and myth, conscious and unconscious, temporal and spiritual, human and beast.
'Liga lives modestly in her own personal heaven, given to her by natural magic and in exchange for her earthly life. Her two daughters, gentle Branza and curious Urdda, grow up in this harmonious world, protected from the violence and village prejudice that once made their mother's life unendurable.
'But the real world cannot be denied forever, and gradually the borders break down between Liga's refuge and the place from which she escaped. Having known heaven, how will Liga and her daughters survive back in the world where beauty cannot be separated from cruelty? How far can you take your fantasies before they grow dangerous? How fully can you protect your children, and how completely should you?' (Publisher's blurb)
'This article reads Margo Lanagan's Tender Morsels (2008) as an intervention in debates about safe spaces and teenage sexuality. I argue that the novel's creation of a parallel universe in which characters are kept safe from sexual trauma functions as a critique of the notion of safe space, whereas the trope of animal transformation is used to address conflicting aspects of male teenage sexuality. Drawing on these themes, the novel formulates an alternative approach to the challenges of trauma and recovery that stresses strength and resilience, arguing that the hardships of reality must be faced head-on.' (Publication abstract)
'While Canadian scholar Lisa M Fiander argues that fairy tales are ‘everywhere’ in Australian fiction, this paper questions that assertion. It considers what it means for a fairy tale to be ‘in’ a work of contemporary fiction, and posits a classificatory system based on the vocabulary of contemporary music scholarship where a distinction is made between intertextuality that is stylistic and that which is strategic. Stylistic intertextuality is the adoption of features of a style or genre without reference to specific examples, while strategic intertexuality references specific prior works.
'Two distinct approaches to strategic fairy-tale revision have emerged in Australian writing in recent decades. One approach, exemplified in works by writers including Kate Forsyth, Margo Lanagan and Juliet Marillier, leans towards the retelling of European fairy tales. Examples include Forsyth’s The Beast’s garden (‘Beauty and the Beast’), Lanagan’s Tender morsels (‘Snow White and Rose Red’) and Marillier’s short story ‘By bone-light’ (‘Vasilisa the Beautiful’). The other, more fractured, approach is exemplified in works by writers including Carmel Bird and Murray Bail, which do not retell fairy tales but instead echo them and allude to them.
'This paper proposes that recent Australian works that retell fairy tales are less likely to be set in a recognisably Australian context than are works which take a more fractured approach to fairy tale. It also explores the notion that, presently, transporting European fairy tales, whole, into an Australian setting, seems to be a troubling proposition for writers in a post-colonial settler society that is highly sensitised to, but still largely in denial about, its colonial past.' (Publication abstract)
'Courses on teaching young adult literature (YAL) often encourage preservice English language arts teachers to consider their future students as they evaluate texts for classroom use. In this study, Sulzer and Thein analyzed preservice teachers' responses to familiar questions used to frame discussions of YAL-questions that ask them to read on behalf of a hypothetical adolescent reader. Findings suggest that evaluating YAL this way may naturalize myths about who adolescents are, what they care about, and what they are capable of. Understanding and addressing these myths may be beneficial to all who are involved in selecting literature for adolescents.' (Publication abstract)
