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AbstractHistoryArchive Description
'Enter into the world of imaginative writing that crosses over into theories of language and the mind:
'A fairytale. Magic horse tells me. I grow a beard. Who is me? Work crosses boundaries between poetics, theory and autobiography. An opera of the self. I am the diva. Dark comedy and terror of psychoanalysis comes to life here. A learning experience. Layered text. I become the Doctor. The composition of the self. The work of memory, charm and play. Doctor Walwicz tells you a trauma. Doctor Freud reads me here. I know everything now and all at once. Fictocriticism. A multilevel text. You can do it too. I analyse me. You can do it to you. A different reading of the self. My diary. I tell you everything here. I open my head. I open my heart. Read me.'
Source: Publisher's blurb.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Australia in Three Books : Maks Sipowicz
2022
single work
review
— Appears in: Meanjin Online 2022; Meanjin , June vol. 81 no. 2 2022; (p. 26-28)
— Review of Kenneth Slessor Selected Poems 2014 selected work poetry ; Horse 2018 single work prose ; Dropbear 2021 selected work poetry essay -
Polyphony
2019
single work
essay
— Appears in: Australian Book Review , January / February no. 408 2019; (p. 33)'Virtuosic performance text, palimpsest of a nineteenth-century Russian folktale, and a merciless and often very funny sectioning of the self, Ania Walwicz’s horse enacts what it names: ‘Polyphony as identity’. The narrative more or less follows the story of The Little Humpbacked Horse by Piotr Jerszow, in which a magical horse repeatedly helps Ivan, a foolish young farm boy, towards his fairy-tale ending. In Walwicz’s wilder and more fragmentary retelling, the protagonist’s identity comprises both horse and rider, tsar and groom, tyrant and the tyrannised, abused child and academic, the self of fiction and the ‘autobiographical’. The effect is almost Cubist, in that all of these facets are visible without becoming a settled, realist literary image.' (Introduction)
-
Horseride
2018
single work
essay
— Appears in: Rabbit , no. 26 2018; (p. 164-165)'Marion May Campbell launches Ania Walwicz's horse RMIT Project Space, CArlton, 5 September 2018.'
-
Australia in Three Books : Maks Sipowicz
2022
single work
review
— Appears in: Meanjin Online 2022; Meanjin , June vol. 81 no. 2 2022; (p. 26-28)
— Review of Kenneth Slessor Selected Poems 2014 selected work poetry ; Horse 2018 single work prose ; Dropbear 2021 selected work poetry essay -
Horseride
2018
single work
essay
— Appears in: Rabbit , no. 26 2018; (p. 164-165)'Marion May Campbell launches Ania Walwicz's horse RMIT Project Space, CArlton, 5 September 2018.'
-
Polyphony
2019
single work
essay
— Appears in: Australian Book Review , January / February no. 408 2019; (p. 33)'Virtuosic performance text, palimpsest of a nineteenth-century Russian folktale, and a merciless and often very funny sectioning of the self, Ania Walwicz’s horse enacts what it names: ‘Polyphony as identity’. The narrative more or less follows the story of The Little Humpbacked Horse by Piotr Jerszow, in which a magical horse repeatedly helps Ivan, a foolish young farm boy, towards his fairy-tale ending. In Walwicz’s wilder and more fragmentary retelling, the protagonist’s identity comprises both horse and rider, tsar and groom, tyrant and the tyrannised, abused child and academic, the self of fiction and the ‘autobiographical’. The effect is almost Cubist, in that all of these facets are visible without becoming a settled, realist literary image.' (Introduction)
Awards
- 2019 shortlisted Mascara Avant-garde Awards — Fiction
