Cirrus@Austlit

'It has been repeatedly claimed - even before the global financial crisis - that literary publishing is entering a shaky chapter. Opportunities for established writers are narrowing, and opportunities for new writers are scarce. This article explores the state of poetry in the Australian publishing industry. It argues that far from being a spent force in publishing, poetry is surviving better than many writers imagine. It argues that reinvention and adaptation are crucial if poetry is to use advances in technology to survive.' (Author's abstract)

'There is often a moment or moments during an interview where a subject's deeply personal experience intersects with the narrative process; 'an eloquent episode' on which the central significance of an entire story resonates. Drawing on a sequence of interviews with subjects telling deeply hidden, long held secrets, this paper will examine a series of micro moments within each account, both for their narrative power as well as their fundamental consequence to the narrative or macro process. Many of the buried stories in this paper are of traumatic memory, circulating around sexuality, or sexual and violent secrets. Attendant to this is the ethical management of such moments at the time of interview, as well as their subsequent reduction to written words by the interviewer. Incorporating a reflective practice into the text in combination with the undertaking of an ethical practice is an attempt to increase the power of the story. By focusing on 'the eloquent episode' or micro moment, and expanding its bounds, it is the intention of this paper to highlight it as a literary device that reinforces the power of the telling of the story, authenticating not just the voice of the primary storyteller but the narrative.' (Author's abstract)

'How a community imagines the past contributes to the shaping of its present culture; influences that community's vision for the future. Yet much about the past can be difficult to access, as it can be lost or hidden. Therefore, when retelling first contact stories, especially when the documentary information is limited to a colonial perspective, how might a writer approach fictionalizing historical Indigenous figures? 'Will Martin' (2011), a tale written as part of my practice-led PhD, is a fictional retelling of the eighteenth century sailing trip, taken along the New South Wales coast, by explorers Matthew Flinders, George Bass, and Bass's servant, William Martin. This paper traces my attempts to discover how to approach fictionalizing the historical Indigenous figures that Flinders met. Examining how some non-Indigenous writers have appropriated Indigenous culture and investigating what some writers have said about non-Indigenous writers creating Indigenous characters, provided me with some guidelines. Interviews with Indigenous elders, and other members of the Illawarra community, helped me imagine the gaps in knowledge. In the fictional retelling, using unreliable narration to suggest there may be multiple stories around a single historical event, some of which we may never get to hear, became a useful narrative strategy.' (Author's abstract)

'This article recounts the journey I took to explore how a prose writer draws inspiration from music and lyrics, as opposed to the traditional sources of written texts in books. 'Dancing in the Dark', my 'prose album' based on Bruce Springsteen's record album Born to Run, appropriates and reworks Springsteen's universal themes and female characters. It fleshes out untold stories suggested by Springsteen's songs, amplifies the voice of a girl locked in the push-pull of staying safe in the house versus being free on the open road, and is juxtaposed to the traditional unquestioning masculine freedom quintessential in Springsteen's lyrical terrain. Along the way in my writing process, I was accompanied by six Muses. Sylvia Plath, Dorothy Porter, Mary Fallon, Vicki Viidikas, Julia Kristeva and Marguerite Duras were my driving companions.' (Author's abstract)