5633643417603868743.jpg
Image courtesy of publisher's website.
y Sixty Lights single work   novel   historical fiction  
Issue Details: First known date: 2004 2004
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AbstractHistoryArchive Description

'Sixty Lights is the captivating chronicle of Lucy Strange, an independent girl growing up in the Victorian world. From her childhood in Australia through to her adolescence in England and Bombay and finally to London, Lucy is fascinated by light and by the new photographic technology. Her perception of the world is passionate and moving, revealed in a series of frozen images captured in the camera of her mind's eye showing her feelings about love, life and loss. In this confident, finely woven and intricate novel Jones has created an unforgettable character in Lucy; visionary, gifted and exuberant, she touches the lives of all who know her.' (Publication summary)

Notes

  • Other formats: Also sound recording.

Publication Details of Only Known VersionEarliest 2 Known Versions of

Notes:
Dedication: For my brothers, Peter and Kevin Jones.
    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      Harvill Press , 2004 .
      5633643417603868743.jpg
      Image courtesy of publisher's website.
      Extent: 249p.
      ISBN: 1843431963 (pbk.)
Alternative title: La memoria de la luz
Language: Spanish
    • Barcelona,
      c
      Spain,
      c
      Western Europe, Europe,
      :
      Roca Editorial , 2005 .
      7655153915477665194.jpg
      This image has been sourced from online.
      Extent: 282p.
      ISBN: 8496284638

Works about this Work

Paratactic Stammers : Temporality in the Novels of Gail Jones Saadi Nikro , 2016 single work essay
— Appears in: JASAL , vol. 16 no. 1 2016;

'Norman Saadi Nikro’s essay, ‘Paractatic Stammers: Temporality in the Novels of Gail Jones,’ sets out to explore how Jones’ ‘sense of fascination and wonder with the technology and culture of modernism informs the phenomenology and tenor of her novelistic style, especially the characters that emerge through the wave lengths of this style.’ Addressing himself to Jones’ literary fiction published to date, Nikro seeks to ‘track the duration in her novels whereby memory, history and story are experienced by her characters as something like intersections, intervals nor spacings, taut and tense folds or pleats in which time is riven by “a strange accession to memory and speech,” as the character Perdita comes to learn in Jones’s Sorry (202).’ Drawing in part on the work of Mikhail Bakhtin and on Gilles Deleuze’s ‘engagement with the work of Bergson,’ Nikro examines in Jones the ‘relational contiguity of parts whose variable movements and orientations to one another bring about a transfiguration of their subjective capacities (as in Perdita’s realisation of her stuttering as a relational dynamic).’ ‘Paractatic Stammers: Temporality in the Novels of Gail Jones,’ offers a rich and original reading of Jones’ fiction, both sympathetic and critically rigorous. Echoing Jones’ own views on modernity, Nikro traces in her novels a poetics of modernity that inflects both the writing and the thematics of the work. ‘Jones’s prose style,’ he suggests, ‘what she calls “a kind of prose poetics’” (Royo Grasa 1), calls attention to the gaps and intervals by which the temporality of narration is not only possible, but rendered a vacant site for the stammer of an interruptive image or voice encompassing an alternative engagement of time and its graphic imprints.’ Like Kirkpatrick, Nikro too highlights the forceful way in which an Australian author develops a distinct narrative voice, in the case of Jones one informed by a constant intertwining of local and global aesthetic and political sensibilities.' (Editor's introduction)

From Innocent to Evil: The Representation of the Child in the Works of Gail Jones Fiona Duthie , 2013 single work criticism
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 126-147)
This Week You're Reading Hila Shacher , 2012 single work review
— Appears in: The West Australian , 3 November 2012; (p. 21)

— Review of Sixty Lights Gail Jones 2004 single work novel
Magwitch Madness : Archive Fever and the Teaching of Australian Literature in Subject English Larissa McLean-Davies , 2011 single work criticism
— Appears in: Teaching Australian Literature : From Classroom Conversations to National Imaginings 2011; (p. 129-152)
'...Magwitch madness...has been inspired by Derrida's notion of 'archive fever' - the 'compulsive, repetitive and nostalgic desire for the archive, an irrepressible desire to return to the origin' (Derrida, 1998, p. 9). Like the convict Magwitch in Charles Dickens's novel, who is relocated to Australia, but remains imaginatively and materially linked to the centre of the Empire through his patronage of the boy Philip Pirrip (Pip), contemporary manifestations of Magwitch madness, whether they be in curriculum documents, media debates, text selection or pedagogical practices, are distinguished by a nostalgia for classic texts...and metaphorical and virtual proximity to the cultural capital that these classic works represent. ...

In this chapter, I will examine some contemporary manifestation of Magwitch madness in Some Australasian texts set for study in senior English. Thorough this analysis, I will pursue the connection between these texts and a more systemic manifestation of this condition in the recent debate around the teaching of Australian literature and in the Australian Curriculum: English. In the final section of this chapter, I will explore the implications of Magwitch madness for classroom practice, by drawing on data collected in four diverse Victorian secondary schools in 2010 as part of the project National Stories: Teaching Australian Literature in Secondary English. Through the examination of these various and inter-connected expressions of antipodean archive fever in text, curriculum and practice, this chapter will map some of the complexities and challenges of teaching Australian literature in twenty-first century classrooms.' (From author's introduction, 130, 131-132)
The Charged Classroom : Reading Like Writers, Writing Like Readers Felicity Plunkett , 2011 single work criticism
— Appears in: Teaching Australian Literature : From Classroom Conversations to National Imaginings 2011; (p. 307-318)
'This essay is haunted by a poem. Reflecting on my experiences of reading and writing as a student and academic, Sylvia Plath's 'Lady Lazarus' makes its presence felt in that 'metaphysical meeting space'. At the heart of the poem is the monosyllable 'charge' and Plath's risky choice to repeat it four times in five lean lines. The repetition insists on the pursuit of generating charge, in all the complex connotations of that word, within the 'geometry of connections' generated by reading. (Author's introduction, 307)
Local Classics Belle Taylor , 2009 single work review
— Appears in: The West Australian , 12 September 2009; (p. 12)

— Review of Cloudstreet Tim Winton 1991 single work novel ; Sixty Lights Gail Jones 2004 single work novel ; Gilgamesh : A Novel Joan London 2001 single work novel ; The Shark Net : Memories and Murder Robert Drewe 2000 single work autobiography ; A Fortunate Life A. B. Facey 1980 single work autobiography ; The Well Elizabeth Jolley 1986 single work novel ; The Merry-Go-Round in the Sea Randolph Stow 1965 single work novel
Miles Ahead of the Rest Mark Naglazas , 2008 single work column
— Appears in: The West Australian , 7 June 2008; (p. 26-27)
2009 an HSC Odyssey Hannah Edwards , 2007 single work column
— Appears in: The Sun-Herald , 22 July 2007; (p. 9)
The column discusses the new draft list of works to be taught in New South Wales schools from 2009. Only the new Australian works to be added have been listed here.
Double Gazing and Novel Spaces - Examining Narrated and Manifest Photographs in the Novel Peter Davis , 2007 single work criticism
— Appears in: Double Dialogues , Winter no. 7 2007;
Photography, Cinema and Time in Jane Campion’s The Piano and Gail Jones’ Sixty Lights Sukhmani Khorana , 2007 single work criticism
— Appears in: Outskirts : Feminisms along the Edge , May vol. 16 no. 2007;
Untitled Adi Wimmer , 2007-2008 single work review
— Appears in: Zeitschrift fur Australienstudien , no. 21-22 2007-2008; (p. 228-230)

— Review of Sixty Lights Gail Jones 2004 single work novel
The Interview : Gail Jones Michele McCrea (interviewer), 2006 single work interview
— Appears in: Wet Ink , Winter no. 3 2006; (p. 26-29)
Gail Jones' "Light Writing": Memory and the Photo-graph Lyn Jacobs , 2006 single work criticism
— Appears in: JASAL , no. 5 2006; (p. 192-208)
'This article traces Jones's interest in photography/film and the ways in which metaphors of light, shadow and mirroring shape narratives.' (p.192)
Politics and Monomania Ken Gelder , 2006 single work criticism
— Appears in: Overland , Spring no. 184 2006; (p. 48-56)
Instant Connection Katharine England , 2006 single work review
— Appears in: The Advertiser , 18 February 2006; (p. 10)

— Review of Sixty Lights Gail Jones 2004 single work novel
Dark Downs Thriller Stands Tall on Short List Rosemary Sorensen , 2005 single work column
— Appears in: The Courier-Mail , 22 April 2005; (p. 3)
Prize Fighters Booked for Crack at the Franklin Murray Waldren , 2005 single work column
— Appears in: The Australian , 22 April 2005; (p. 3)
Forgotten Novel Proves a Winner 2005 single work column
— Appears in: The West Australian , 21 May 2005; (p. 6)
More Accolades for 'Sixty Lights' 2005 single work column
— Appears in: Australian Bookseller & Publisher , July vol. 85 no. 1 2005; (p. 6)
Strange by Name, Not Nature Tom Austen , 2005 single work review
— Appears in: The West Australian , 22 January 2005; (p. 9)

— Review of Sixty Lights Gail Jones 2004 single work novel
Framed by Loss Liam Davison , 2004 single work review
— Appears in: The Weekend Australian , 14-15 August 2004; (p. 12)

— Review of Sixty Lights Gail Jones 2004 single work novel
Humanity in Focus Through a Camera Lens James Bradley , 2004 single work review
— Appears in: The Age , 21 August 2004; (p. 4)

— Review of Sixty Lights Gail Jones 2004 single work novel
Artistic Light into the Future Bron Sibree , 2004 single work review
— Appears in: The West Australian , 28 August 2004; (p. 7)

— Review of Sixty Lights Gail Jones 2004 single work novel
Celluloid Path to Enlightenment James Ley , 2004 single work review
— Appears in: The Sydney Morning Herald , 4-5 September 2004; (p. 10)

— Review of Sixty Lights Gail Jones 2004 single work novel
Strange Things Aviva Tuffield , 2004 single work review
— Appears in: Australian Book Review , September no. 264 2004; (p. 45)

— Review of Sixty Lights Gail Jones 2004 single work novel
Writing in Light Bron Sibree , 2004 single work review
— Appears in: The Courier-Mail , 4 September 2004; (p. 7)

— Review of Sixty Lights Gail Jones 2004 single work novel
Strange Days Anne Susskind , 2004 single work review
— Appears in: The Bulletin , 21 September vol. 122 no. 6439 2004; (p. 65)

— Review of Sixty Lights Gail Jones 2004 single work novel
A Shining Light Katharine England , 2004 single work review
— Appears in: The Advertiser , 18 September 2004; (p. 11)

— Review of Sixty Lights Gail Jones 2004 single work novel
The Wish to Beautify Alex Clark , 2004 single work review
— Appears in: The Times Literary Supplement , 19 November no. 5303 2004; (p. 25)

— Review of Sixty Lights Gail Jones 2004 single work novel
Strange by Name, Not Nature Tom Austen , 2005 single work review
— Appears in: The West Australian , 22 January 2005; (p. 9)

— Review of Sixty Lights Gail Jones 2004 single work novel
'Plagued By Hideous Imaginings' Ken Gelder , 2005 single work review
— Appears in: Overland , Winter no. 179 2005; (p. 32-37)

— Review of Surrender Sonya Hartnett 2005 single work novel ; Bright Planet Peter Mews 2004 single work novel ; Sixty Lights Gail Jones 2004 single work novel ; The Submerged Cathedral Charlotte Wood 2004 single work novel ; Spirit Wrestlers Thomas Shapcott 2004 single work novel
Instant Connection Katharine England , 2006 single work review
— Appears in: The Advertiser , 18 February 2006; (p. 10)

— Review of Sixty Lights Gail Jones 2004 single work novel
Jones Captures Strange Life Katherine J. Mulcrone , 2005 single work review
— Appears in: Antipodes , December vol. 19 no. 2 2005; (p. 223)

— Review of Sixty Lights Gail Jones 2004 single work novel
Local Classics Belle Taylor , 2009 single work review
— Appears in: The West Australian , 12 September 2009; (p. 12)

— Review of Cloudstreet Tim Winton 1991 single work novel ; Sixty Lights Gail Jones 2004 single work novel ; Gilgamesh : A Novel Joan London 2001 single work novel ; The Shark Net : Memories and Murder Robert Drewe 2000 single work autobiography ; A Fortunate Life A. B. Facey 1980 single work autobiography ; The Well Elizabeth Jolley 1986 single work novel ; The Merry-Go-Round in the Sea Randolph Stow 1965 single work novel
Untitled Rosemary Sayer , 2004 single work review
— Appears in: The Asian Review of Books

— Review of Sixty Lights Gail Jones 2004 single work novel
Untitled Adi Wimmer , 2007-2008 single work review
— Appears in: Zeitschrift fur Australienstudien , no. 21-22 2007-2008; (p. 228-230)

— Review of Sixty Lights Gail Jones 2004 single work novel
This Week You're Reading Hila Shacher , 2012 single work review
— Appears in: The West Australian , 3 November 2012; (p. 21)

— Review of Sixty Lights Gail Jones 2004 single work novel
Writing in Light: Insights in a Flash Bron Sibree , 2004 single work biography
— Appears in: The Canberra Times , 21 August 2004; (p. 1a-2a)
Reading Groups and Creative Writing Courses : The Year's Work in Fiction Susan Lever , 2004 single work review
— Appears in: Westerly , November vol. 49 no. 2004; (p. 164-175)
Dark Downs Thriller Stands Tall on Short List Rosemary Sorensen , 2005 single work column
— Appears in: The Courier-Mail , 22 April 2005; (p. 3)
Prize Fighters Booked for Crack at the Franklin Murray Waldren , 2005 single work column
— Appears in: The Australian , 22 April 2005; (p. 3)
Forgotten Novel Proves a Winner 2005 single work column
— Appears in: The West Australian , 21 May 2005; (p. 6)
More Accolades for 'Sixty Lights' 2005 single work column
— Appears in: Australian Bookseller & Publisher , July vol. 85 no. 1 2005; (p. 6)
The Interview : Gail Jones Michele McCrea (interviewer), 2006 single work interview
— Appears in: Wet Ink , Winter no. 3 2006; (p. 26-29)
Gail Jones' "Light Writing": Memory and the Photo-graph Lyn Jacobs , 2006 single work criticism
— Appears in: JASAL , no. 5 2006; (p. 192-208)
'This article traces Jones's interest in photography/film and the ways in which metaphors of light, shadow and mirroring shape narratives.' (p.192)
Politics and Monomania Ken Gelder , 2006 single work criticism
— Appears in: Overland , Spring no. 184 2006; (p. 48-56)
2009 an HSC Odyssey Hannah Edwards , 2007 single work column
— Appears in: The Sun-Herald , 22 July 2007; (p. 9)
The column discusses the new draft list of works to be taught in New South Wales schools from 2009. Only the new Australian works to be added have been listed here.
Miles Ahead of the Rest Mark Naglazas , 2008 single work column
— Appears in: The West Australian , 7 June 2008; (p. 26-27)
Double Gazing and Novel Spaces - Examining Narrated and Manifest Photographs in the Novel Peter Davis , 2007 single work criticism
— Appears in: Double Dialogues , Winter no. 7 2007;
Photography, Cinema and Time in Jane Campion’s The Piano and Gail Jones’ Sixty Lights Sukhmani Khorana , 2007 single work criticism
— Appears in: Outskirts : Feminisms along the Edge , May vol. 16 no. 2007;
Magwitch Madness : Archive Fever and the Teaching of Australian Literature in Subject English Larissa McLean-Davies , 2011 single work criticism
— Appears in: Teaching Australian Literature : From Classroom Conversations to National Imaginings 2011; (p. 129-152)
'...Magwitch madness...has been inspired by Derrida's notion of 'archive fever' - the 'compulsive, repetitive and nostalgic desire for the archive, an irrepressible desire to return to the origin' (Derrida, 1998, p. 9). Like the convict Magwitch in Charles Dickens's novel, who is relocated to Australia, but remains imaginatively and materially linked to the centre of the Empire through his patronage of the boy Philip Pirrip (Pip), contemporary manifestations of Magwitch madness, whether they be in curriculum documents, media debates, text selection or pedagogical practices, are distinguished by a nostalgia for classic texts...and metaphorical and virtual proximity to the cultural capital that these classic works represent. ...

In this chapter, I will examine some contemporary manifestation of Magwitch madness in Some Australasian texts set for study in senior English. Thorough this analysis, I will pursue the connection between these texts and a more systemic manifestation of this condition in the recent debate around the teaching of Australian literature and in the Australian Curriculum: English. In the final section of this chapter, I will explore the implications of Magwitch madness for classroom practice, by drawing on data collected in four diverse Victorian secondary schools in 2010 as part of the project National Stories: Teaching Australian Literature in Secondary English. Through the examination of these various and inter-connected expressions of antipodean archive fever in text, curriculum and practice, this chapter will map some of the complexities and challenges of teaching Australian literature in twenty-first century classrooms.' (From author's introduction, 130, 131-132)
The Charged Classroom : Reading Like Writers, Writing Like Readers Felicity Plunkett , 2011 single work criticism
— Appears in: Teaching Australian Literature : From Classroom Conversations to National Imaginings 2011; (p. 307-318)
'This essay is haunted by a poem. Reflecting on my experiences of reading and writing as a student and academic, Sylvia Plath's 'Lady Lazarus' makes its presence felt in that 'metaphysical meeting space'. At the heart of the poem is the monosyllable 'charge' and Plath's risky choice to repeat it four times in five lean lines. The repetition insists on the pursuit of generating charge, in all the complex connotations of that word, within the 'geometry of connections' generated by reading. (Author's introduction, 307)
From Innocent to Evil: The Representation of the Child in the Works of Gail Jones Fiona Duthie , 2013 single work criticism
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 126-147)
Paratactic Stammers : Temporality in the Novels of Gail Jones Saadi Nikro , 2016 single work essay
— Appears in: JASAL , vol. 16 no. 1 2016;

'Norman Saadi Nikro’s essay, ‘Paractatic Stammers: Temporality in the Novels of Gail Jones,’ sets out to explore how Jones’ ‘sense of fascination and wonder with the technology and culture of modernism informs the phenomenology and tenor of her novelistic style, especially the characters that emerge through the wave lengths of this style.’ Addressing himself to Jones’ literary fiction published to date, Nikro seeks to ‘track the duration in her novels whereby memory, history and story are experienced by her characters as something like intersections, intervals nor spacings, taut and tense folds or pleats in which time is riven by “a strange accession to memory and speech,” as the character Perdita comes to learn in Jones’s Sorry (202).’ Drawing in part on the work of Mikhail Bakhtin and on Gilles Deleuze’s ‘engagement with the work of Bergson,’ Nikro examines in Jones the ‘relational contiguity of parts whose variable movements and orientations to one another bring about a transfiguration of their subjective capacities (as in Perdita’s realisation of her stuttering as a relational dynamic).’ ‘Paractatic Stammers: Temporality in the Novels of Gail Jones,’ offers a rich and original reading of Jones’ fiction, both sympathetic and critically rigorous. Echoing Jones’ own views on modernity, Nikro traces in her novels a poetics of modernity that inflects both the writing and the thematics of the work. ‘Jones’s prose style,’ he suggests, ‘what she calls “a kind of prose poetics’” (Royo Grasa 1), calls attention to the gaps and intervals by which the temporality of narration is not only possible, but rendered a vacant site for the stammer of an interruptive image or voice encompassing an alternative engagement of time and its graphic imprints.’ Like Kirkpatrick, Nikro too highlights the forceful way in which an Australian author develops a distinct narrative voice, in the case of Jones one informed by a constant intertwining of local and global aesthetic and political sensibilities.' (Editor's introduction)

Last amended 27 Oct 2014 16:08:52
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  • London,
    c
    England,
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