'Tasmania is in the grip of one of the longest, bleakest winters on record and it's particularly icy at the Hobart Police Station. Of the many golden rules in policing, one is especially sacred: what happens at work stays at work.
'So when a naive young constable, Lucy Howard, makes an allegation of sexual assault against a respected colleague, the rule is well and truly broken.
'Soon the station is divided. From Lucy's fellow rookies right up to the commissioner himself - everyone must take a side. With grudges, prejudices and hidden agendas coming into play, support arrives from the unlikeliest of corners.
'But so too does betrayal ...' (From the publisher's website.)
'This article evaluates rape–revenge narratives in literature, asking how written scenes of rape and revenge depict female bodies without relying on visual representations that replicate evidence-based investigations of the crime. It then examines how authors and readers may seek scriptotherapy through rape–revenge literature, both fiction and memoir. It takes up Elizabeth Grosz's theories of corporeal feminism, feminist criticism on rape–revenge by scholars such as Tara Roeder and criticism on scriptotherapy. Primary texts discussed include novels and memoirs by Barbara Wilson, Y. A. Erskine, Tara Moss, and Alice Sebold. The article positions the rape–revenge narrative through the prism of therapeutic reading and writing, and compares it to the current public responses to sexual assault in Australia. The article determines that rape–revenge narratives in literature are more nuanced than their filmic counterparts. Furthermore, it concludes that memoir can only act therapeutically in a one-on-one sense and has no greater public service to the treatment of rape victims, and is, therefore, no more therapeutic than rape–revenge fantasies.' (Publication abstract)
'This article evaluates rape–revenge narratives in literature, asking how written scenes of rape and revenge depict female bodies without relying on visual representations that replicate evidence-based investigations of the crime. It then examines how authors and readers may seek scriptotherapy through rape–revenge literature, both fiction and memoir. It takes up Elizabeth Grosz's theories of corporeal feminism, feminist criticism on rape–revenge by scholars such as Tara Roeder and criticism on scriptotherapy. Primary texts discussed include novels and memoirs by Barbara Wilson, Y. A. Erskine, Tara Moss, and Alice Sebold. The article positions the rape–revenge narrative through the prism of therapeutic reading and writing, and compares it to the current public responses to sexual assault in Australia. The article determines that rape–revenge narratives in literature are more nuanced than their filmic counterparts. Furthermore, it concludes that memoir can only act therapeutically in a one-on-one sense and has no greater public service to the treatment of rape victims, and is, therefore, no more therapeutic than rape–revenge fantasies.' (Publication abstract)
