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Melanie Duckworth Melanie Duckworth i(A31334 works by)
Born: Established: 1979
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England,
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United Kingdom (UK),
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Western Europe, Europe,
;
Gender: Female
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Works By

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1 Vegetal Memory, Community, and Power in Ambelin Kwaymullina’s The Tribe Trilogy Nicole Kennedy , Melanie Duckworth , 2023 single work criticism
— Appears in: Storying Plants in Australian Children's and Young Adult Literature : Roots and Winged Seeds 2023; (p. 227-245)
'The Tribe, a dystopian young adult trilogy written by Ambelin Kwaymullina, is an Indigenous futurist narrative that imagines a society where humans and non-humans attempt to live in balance in a post-apocalyptic world. Previous critical approaches to Kwaymullina’s narrative have explored issues of posthumanism, ecofeminism, Indigenous Futurism, and the concept of Country (Kwaymullina, Edges, Centres and Futures: Reflections on Being an Indigenous Speculative Fiction Writer. Kill Your Darlings.' 

(Publication abstract)

1 The Voice of the She-oak : Vegetal Poetics and Hope in Kirli Saunders’s Verse Novel Bindi Melanie Duckworth , 2023 single work criticism
— Appears in: Storying Plants in Australian Children's and Young Adult Literature : Roots and Winged Seeds 2023; (p. 107-127)

'Bindi (2020), by Gunai poet and children’s author Kirli Saunders, is a verse novel dedicated to “those who plant trees.” Told from the perspective of eleven-year-old Bindi, it is a story of a community caring for Country, while experiencing and recovering from a bushfire. The planting of she-oak seedlings forms the core of the narrative and provides a structure: the verse novel’s three parts are named “Seedlings,” “Cinders,” and “Sprouts.” While Anglophone Australian poetry traditionally depicts the voice of the wind in the sighing branches of the she-oak tree as mournful, the pods of she-oak trees are the only food of the threatened glossy black cockatoo, and in Bindi, the trees are connected with hope and resilience. The “vegetal hope” manifest in Bindi is connected to the materiality, culture and ecology of plants, not just their symbolic function, and is underscored by the use of Gundungurra words within the poems. Drawing on John Charles Ryan’s approaches to vegetal poetics and Palyku writers Gladys and Jill Milroy’s essay “Different Ways of Knowing: Trees Are Our Family Too” (2008), this chapter argues that she-oak trees in Bindi function as material and semiotic agents of hope.' (Publication abstract)

1 Introduction : Storying Plants—Roots and Winged Seeds Annika Herb , Melanie Duckworth , 2023 single work criticism
— Appears in: Storying Plants in Australian Children's and Young Adult Literature : Roots and Winged Seeds 2023; (p. 1–29)

'This introduction situates the representation of plants in Australian children’s and young adult literature in relation to Indigenous Australian stories of and relationships with plants, and the field of critical plant studies. The first section discusses the notion of “storying plants,” grounded in Palyku writers Gladys Idjirrimoonya Milroy and Jill Milroy’s call to tell the “right” stories about trees. It then introduces the field of critical plant studies, reviews previous forays into the intersection between children’s and young adult literature and critical plant studies, and provides a historical overview of plant representation in Australian children’s and young adult literature, from colonial and postcolonial engagement and dislocation to recent Indigenous publications drawing on ancient relationships to Country and to plants. The subtitle, “Roots and Winged Seeds,” alludes to the ways in which plants, and the stories of plants, are at once anchored in the ground and travel widely. Thus, while considerations of Australia and its plants form the core of the book, it also includes transnational perspectives, including that of Aotearoa New Zealand, Ukraine, and Poland. The editors hope these contributions to plant studies and children’s and young adult literature act as winged seeds, flying across the world to take root.'  (Introduction)

1 1 y separately published work icon Storying Plants in Australian Children's and Young Adult Literature : Roots and Winged Seeds Melanie Duckworth (editor), Annika Herb (editor), Cham : Palgrave Macmillan , 2023 27274711 2023 anthology criticism

'Storying Plants in Australian Children’s and Young Adult Literature: Roots and Winged Seeds explores cultural and historical aspects of the representation of plants in Australian children’s and young adult literature, encompassing colonial, postcolonial, and Indigenous perspectives. While plants tend to be backgrounded as of less narrative interest than animals and humans, this book, in conversation with the field of critical plant studies, approaches them as living beings worthy of attention. Australia is home to over 20,000 species of native plants – from pungent Eucalypts to twisting mangroves, from tiny orchids to spiky, silvery spinifex. Indigenous Australians have lived with, relied upon, and cultivated these plants for many thousands of years. When European explorers and colonists first invaded Australia, unfamiliar species of plants captured their imagination. Vulnerable to bushfires, climate change, and introduced species, plants continue to occupy fraught but vital places in Australian ecologies, texts, and cultures. Discussing writers from Ambelin Kwaymullina and Aunty Joy Murphy to May Gibbs and Ethel Turner, and embracing transnational perspectives from Ukraine, Poland, and Aotearoa New Zealand, Storying Plants addresses the stories told about plants but also the stories that plants themselves tell, engaging with the wide-ranging significance of plants in Australian children’s and Young Adult literature.'  (Publication summary)


 
1 Arboreal and Maternal Desires: Trees and Mothers in Recent Australian Middle-Grade Fiction Melanie Duckworth , 2021 single work criticism
— Appears in: Plants in Children’s and Young Adult Literature 2021;
1 Bog Poetics : Tracy Ryan and Seamus Heaney Melanie Duckworth , 2021 single work essay
— Appears in: Social Alternatives , October vol. 40 no. 3 2021; (p. 57-59)
'Tracy Ryan’s 2015 poetry collection, Hoard, muses upon the bogs of the poet’s ancestral Ireland. In doing so, Ryan engages knowingly with a landscape already excavated and embraced in poetry, as Seamus Heaney repeatedly wrote about bogs and bog bodies, heeding a call to ‘Lie down / in the word-hoard’ (1992: 11). A bog, as Ryan explains in a note at the end of the collection, ‘is a kind of wetland, like a sponge full of water, composed of peat – dead, partly decayed plant matter built up over great lengths of time . . . These conditions mean that things found in bogs are often near-perfectly preserved – from ancient hoards of tools and jewellery to actual human bodies’ (2015: 49). A bog is thus an amalgamation of disparate temporalities and materialities. Organic and inorganic matter, water, earth and plant matter create an acidic environment deprived of oxygen, in which human and animal bodies, medieval weapons, bronze age collars, Victorian boots, and modern rubbish can co-exist silently, hidden. Bogs are thus uniquely illustrative examples of what Serenella Iovino and Serpil Oppermann call ‘storied matter’: ‘a material “mesh” of meanings, properties, and processes, in which human and nonhuman players are interlocked in networks that produce undeniable signifying forces’ (2014: 1-2). While for Iovino and Oppermann, all matter is storied, for poets such as Ryan and Heaney, the stories encased and layered in bogs are particularly enticing.' (Introduction)
1 1 y separately published work icon Plants in Children’s and Young Adult Literature Melanie Duckworth (editor), Lykke Guanio-Uluru (editor), London : Routledge, Warne and Routledge , 2021 21862848 2021 anthology criticism

'From the forests of the tales of the Brothers’ Grimm to Enid Blyton’s The Faraway Tree, from the flowers of Cicely May Barker’s fairies to the treehouse in Andy Griffith and Terry Denton’s popular 13 Story Treehouse series, trees and other plants have been enduring features of stories for children and young adults. Plants act as gateways to other worlds, as liminal spaces, as markers of permanence and change, and as metonyms of childhood and adolescence. This anthology is the first compilation devoted entirely to analysis of the representation of plants in children’s and young adult literatures, reflecting the recent surge of interest in cultural plant studies within the Environmental Humanities.

'Mapping out and presenting an internationally inclusive view of plant representation in texts for children and young adults, the volume includes contributions examining European, American, Australian and Asian literatures and contributes to the research fields of ecocriticism, critical plant studies and the study of children’s and young adult literatures.' (Publication summary)

1 Genre, History, and the Stolen Generations : Three Australian Stories Melanie Duckworth , 2020 single work criticism
— Appears in: International Research in Children’s Literature , December vol. 13 no. 2 2020; (p. 259-273)

'This article explores the role that genre plays in fictional depictions of the Stolen Generations (Australian Indigenous children removed from their homes) in three twenty-first-century Australian middle-grade novels: Who Am I?: The Diary of Mary TalenceSydney 1937 by Anita Heiss (2001); The Poppy Stories: Four Books in One by Gabrielle Wang (2016); and Sister Heart by Sally Morgan (2016). It argues that the genres of fictional diary, adventure story and verse novel invite different reading practices and approaches to history, and shape the ways in which the texts depict, for children, the suffering and resilience of the Stolen Generations.' (Publication abstract)

1 "A Girl Like Me in a Time Gone By" : Agency, Reading, and Writing in the Our Australian Girl Series Melanie Duckworth , 2019 single work criticism
— Appears in: Bookbird , vol. 57 no. 1 2019; (p. 26-36)

'Agency and identity are developed in young people through many means, including literacy events. The Our Australian Girl series introduces the reader to significant aspects of Australian history and cultural multiplicity while having the potential of nurturing agency development. This article explores the representations of reading and writing that run like a thread throughout the series alongside comparable acts of creation like storytelling, dancing, and drawing. Reading offers the characters of these novels a chance to understand and question their worlds, and writing offers them a chance to remake them.' (Introduction)

1 Grievous Music : Randolph Stow's Middle Ages Melanie Duckworth , 2011 single work criticism
— Appears in: Australian Literary Studies , October - November vol. 26 no. 3-4 2011; (p. 102-114)
1 [Review] Imageless World Melanie Duckworth , 2006 single work review
— Appears in: Reviews in Australian Studies , March vol. 1 no. 1 2006;

— Review of Imageless World Michael Brennan , 2003 selected work poetry
1 First Rain i "All afternoon", Melanie Duckworth , 2004 single work poetry
— Appears in: Friendly Street Poets Twenty-Eight : Another Universe 2004; (p. 36-37)
1 [Review] Imageless World Melanie Duckworth , 2003 single work review
— Appears in: Australian Studies , Winter vol. 18 no. 2 2003; (p. 193-194)

— Review of Imageless World Michael Brennan , 2003 selected work poetry
1 Joseph i "I remember when the dreams first came. The", Melanie Duckworth , 2002 single work poetry
— Appears in: Friendly Street : New Poets Seven 2002; (p. 91)
1 Sea Song i "Walking by the sea in the strong air", Melanie Duckworth , 2002 single work poetry
— Appears in: Friendly Street : New Poets Seven 2002; (p. 89-90)
1 Image i "'I am the lake's reflection'", Melanie Duckworth , 2002 single work poetry
— Appears in: Friendly Street : New Poets Seven 2002; (p. 88)
1 Round Green Bowl i "'We can't have them on the sink'", Melanie Duckworth , 2002 single work poetry
— Appears in: Friendly Street : New Poets Seven 2002; (p. 88)
1 Waiting i "Sitting, half an hour", Melanie Duckworth , 2002 single work poetry
— Appears in: Friendly Street : New Poets Seven 2002; (p. 87)
1 Clinical Depression i "It scribbles my walls.", Melanie Duckworth , 2002 single work poetry
— Appears in: Friendly Street : New Poets Seven 2002; (p. 85)
1 Duck's Feet i "Paddles,", Melanie Duckworth , 2002 single work poetry
— Appears in: Friendly Street : New Poets Seven 2002; (p. 83)
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