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Death Is Forgotten in Victory extract   criticism  
Issue Details: First known date: 2016... 2016 Death Is Forgotten in Victory
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AbstractHistoryArchive Description

Extract from 'Death is Forgotten in Victory': Colonial landscapes and Narratives of Emptiness' in Jane lydon and Tracy Ireland (eds), Object lessons: archaeology and heritage in Australia, Australian Scholarly Publishing, Melbourne, 2005

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon A Single Tree : Voices from the Bush Don Watson , Melbourne : Penguin Random House Australia , 2016 9841220 2016 anthology poetry essay correspondence short story

    'A Single Tree assembles the raw material underpinning Don Watson’s award-winning The Bush. These diverse and haunting voices span the four centuries since Europeans first set eyes on the continent. Each of these varied contributors – settlers, explorers, anthropologists, naturalists, stockmen, surveyors, itinerants, artists and writers– represents a particular place and time. Men in awe of the landscape or cursing it; aspiring to subdue and exploit it or finding themselves defeated by it. Women reflecting on the land’s harshness and beauty, on the strangeness of their lives, their pleasures and miseries, the character and behaviour of the men. Europeans writing about indigenous Australians, sometimes with intelligent sympathy and curiosity but often with contempt, and often describing acts of startling brutality.

    This collection comprises diary extracts, memoirs, journals, letters, histories, poems and fiction, and follows the same loose themes of The Bush. The science of the landscape and climate, and the way we have perceived them. Our deep and sentimental connection to the land, and our equally deep ignorance and abuse of it. The heroic myths and legends. The enchantments. The bush as a formative and defining element in Australian culture, self-image and character. The flora and fauna, the waterways, the colours. The heroic, self-defining stories, the bizarre and terrible, and the ones lost in the deep silences.

    There are accounts of journeys, of work and recreation, of religious observance, of creation and destruction. Stories of uncanny events, peculiar and fantastic characters, deep ironies, and of land unlimited. And musings on what might be the future of the bush: as a unique environment, a food bowl, a mine, a wellspring of national identity . . .

    From Dampier and Tasman to Tim Flannery and assorted contemporary farmers, environmentalists and grey nomads, these pieces represent a vast array of experiences, perspectives and knowledge. A Single Tree is an essential companion to its brilliant predecessor.

    Melbourne : Penguin Random House Australia , 2016
    pg. 37-40

Works about this Work

Crafting “Literary Sense of Place” : the Generative Work of Literary Place-making Meg Mundell , 2018 single work criticism
— Appears in: JASAL , vol. 1 no. 18 2018;

'This paper examines the how of literary wheres. As makers of literary works, creative writers are tasked with evoking place on the page. While the nexus of place and literature is increasingly recognised as fertile scholarly ground, the specifics of how writers actually “make” literary places remain opaque and under-researched. I seek to address this gap by exploring how literary place is constituted through creative practice. Focusing on the work of Australian writer Tony Birch, I document a range of generative tools creative writers may use to produce what I call “literary sense of place”. Drawing on interview-based case studies and key concepts from human geography, I analyse how these practitioners harness various “off-page” modes of enquiry to evoke place compellingly in textual form. While my main focus is creative practice, I also examine the resultant literary texts to help illuminate how process manifests in content. By profiling a range of “place-oriented experiential techniques (POETs)” – including site visits, memory, direct encounters, sensory attentiveness, “vicarious emplacement”, socio-cultural understandings, and happenstance – I present a fine-grained account of literary place-making from a practitioners’ perspective. I conclude that producing literary place is a generative, cumulative and associative process, in which writers mobilise a rich array of lived sensations, emotions, memories, understandings and actions. In foregrounding these “backstage” modes of creative labour, this paper helps clarify how writers deploy both personal and shared experiences to render literary place in resonant ways.' (Publication abstract)

Crafting “Literary Sense of Place” : the Generative Work of Literary Place-making Meg Mundell , 2018 single work criticism
— Appears in: JASAL , vol. 1 no. 18 2018;

'This paper examines the how of literary wheres. As makers of literary works, creative writers are tasked with evoking place on the page. While the nexus of place and literature is increasingly recognised as fertile scholarly ground, the specifics of how writers actually “make” literary places remain opaque and under-researched. I seek to address this gap by exploring how literary place is constituted through creative practice. Focusing on the work of Australian writer Tony Birch, I document a range of generative tools creative writers may use to produce what I call “literary sense of place”. Drawing on interview-based case studies and key concepts from human geography, I analyse how these practitioners harness various “off-page” modes of enquiry to evoke place compellingly in textual form. While my main focus is creative practice, I also examine the resultant literary texts to help illuminate how process manifests in content. By profiling a range of “place-oriented experiential techniques (POETs)” – including site visits, memory, direct encounters, sensory attentiveness, “vicarious emplacement”, socio-cultural understandings, and happenstance – I present a fine-grained account of literary place-making from a practitioners’ perspective. I conclude that producing literary place is a generative, cumulative and associative process, in which writers mobilise a rich array of lived sensations, emotions, memories, understandings and actions. In foregrounding these “backstage” modes of creative labour, this paper helps clarify how writers deploy both personal and shared experiences to render literary place in resonant ways.' (Publication abstract)

Last amended 21 Sep 2018 10:11:47
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