A lover of good writing; literary fiction, genre writing, non-fiction, poetry, it matters not.
Book reviews from down under and other thoughts
I am often compelled to share great writing as I am beyond grateful when an author allays my fears that I have lost the ability to read more than a few pages without falling asleep.
I grew up reading and rereading the Milly Molly Mandy collection, the Heidi trilogy, and the Trixie Beldon series, thanks to my maternal grandmother, while my father took to me to our local library and to let me loose regularly. Nan would often say, “you’ll never be lonely if you read,” and I think the same goes for writing. It’s a joy I’ve rediscovered post forty. While I have no loyalty to any one genre or mode of writing it seems sassy girls are a significant presence on my shelf, and in my writing. This extends all the way to my Honours Degree in Writing and Literature, and my thesis ‘Negotiating familia trauma in creative writing’ where I call out the dearth of a paradigm of literary trauma theory and women’s stories, a reading theory ALWAYS reserved instead for books featuring the masculine endeavours of war and genocide. I wrote my thesis during the phenomenon #metoo and was astonished at the lack of scholarly publications applying a literary trauma theory reading to texts written by women about women’s traumata. Two books I then demonstrated a literary trauma theory reading to was two debut novels by Australian women, The Lost Flowers of Alice Heart by Holly Ringland (2018) and Burial Rites by Hanna Kent (2013). I have a particular interested in debut novels written by Australian women.