y Southerly periodical issue   assertion
Alternative title: The Naked Writer 2
Issue Details: First known date: 2016 vol. 75 no. 2 2016 of Southerly est. 1939
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* Contents derived from the 2016 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Veronica Brady (1929-2015), David Brooks , 2016 single work obituary (p. 9-16)
On Reading The Aunt’s Story by Patrick White, Fiona McFarlane , 2016 single work criticism
'The Aunt's Story was published in 1948. It was White's third novel, after Happy Valley and The Living and the Dead. He began it not long after the end of the war and wrote the first section, "Meroe", at a table in London, the second section, "Jardin Exotique", on a balcony in Alexandria, and the third, "Hosstius", on the deck of a ship as he sailed home to Australia. He arrived in Sydney wielding the manuscript as "a shield of a kind", and it was accepted by his American publishers with an acknowledgement that it was very fine but probably wouldn't sell. White was dismayed by the novel's reception in Australia. When his mother Ruth read it, she said to him, "Such a pity you didn't write about a cheery aunt" (White Flaws 58). (Introduction 17)
(p. 17-31)
Refugei"among blind marishes,", Matthew Hall , 2016 single work poetry (p. 32-34)
Surrogate, Carmel Bird , 2016 single work short story (p. 35-40)
Untitledi"I made a mistake", Alex Miller , 2016 single work poetry (p. 41)
The Influence of C.P. Cavafy, Joe Dolce (interviewer), 2016 single work interview (p. 42-54)
On Writing Boy, Lost, Kris Olsson , 2016 single work criticism
'Boy, Lost was the book that was never going to be written. Was nearly not written. The following account is partly an answer to my own question: why not? And its echo: then why was it? It is also an attempt to understand one of the central and most vexed questions not just of this book but of the writing of memoir, a genre grounded in claims to knowledge and memory, in assumptions about the nature of 'truth'. (Introduction 55)
(p. 55-70)
Backfilli"Having turned each surface", Berndt Sellheim , 2016 single work poetry (p. 71-72)
I Think You’re My Wife’ : Translation, Marriage, and the Literary Lives of Shirley Hazzard and Francis Steegmuller, Brigitta Olubas , 2016 single work criticism
'The focus of this essay is the literary lives and afterlives of author Shirley Hazzard and her husband of 30 years, the late literary translator, biographer and Flaubert scholar Francis Steegmuller.' (73)
(p. 73-87)
The Epochs Must Go Chatterboxi"This ailing mean's a gentleman", Alan Gould , 2016 single work poetry (p. 88-89)
The Insistent Face to Facei"At whiskey light I scratch my head;", Alan Gould , 2016 single work poetry (p. 90-91)
Eclogue Failure or Success : The Collaborative Activism of Poetry, John Kinsella , Charmaine Papertalk-Green , 2016 single work criticism
John Kinsella and Charmaine Papertalk-Green discuss the process of collaborative poetry writing.
(p. 92-118)
The Final Cast, Craig Billingham , 2016 single work short story (p. 119-123)
Shedding Clothes : Performing Cross-cultural Exchange through Costume and Writing in Kim Scott’s That Deadman Dance, Maggie Nolan , 2016 single work criticism
'Nolan examines how Scott's 'novel depicts the ways in which different systems of literacy and adornment become entangled in cross-cultural encounters'. (Editorial, 7)
(p. 124-144)
Wilkie Collinsi"I like to be written on. With biro, Tracks of blue running down my", Cassandra Atherton , 2016 single work poetry (p. 145)
On Privacy, Hayley Katzen , 2016 single work criticism
This essay 'tackles issues of the relationship between fact, fiction truth and writing.' (Editorial, 6)
(p. 146-161)
Was Washed Ashore : Of Other Worlds, Sue Parker , 2016 single work short story (p. 162-168)
A Drinking Song for A.D. Hopei"Here's to Alec! What's it matter,", Geoff Page , 2016 single work poetry (p. 169-171)
'But Even Memory Is Fiction' : The (Fictional) Life and (Self ) Writing of Sumner Locke Elliott, Shaun Bell , 2016 single work criticism
'Shaun Bell recuperates Lock-Elliott from his common status as footnote or aside in accounts of literary networks, to identify common figures and set pirces across his oeuvre, as a ways of reading of his 'construction of self through nostalgia, art and life.' (Editorial, 7)
(p. 172-192)
A Letter for the Emperori"It's autumn, and the morning light is scratched", Mark Mordue , 2016 single work poetry (p. 193-194)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 15 Feb 2016 09:03:39
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