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AbstractHistoryArchive Description
'Caleb Zelic, profoundly deaf since early childhood, has always lived on the outside - watching, picking up telltale signs people hide in a smile, a cough, a kiss. When a childhood friend is murdered, a sense of guilt and a determination to prove his own innocence sends Caleb on a hunt for the killer. But he can’t do it alone. Caleb and his troubled friend Frankie, an ex-cop, start with one clue: Scott, the last word the murder victim texted to Caleb. But Scott is always one step ahead.
'This gripping, original and fast-paced crime thriller is set between a big city and a small coastal town, Resurrection Bay, where Caleb is forced to confront painful memories. Caleb is a memorable protagonist who refuses to let his deafness limit his opportunities, or his participation in the investigation. But does his persistence border on stubbornness? And at what cost? As he delves deeper into the investigation Caleb uncovers unwelcome truths about his murdered friend – and himself.'
Source: Publisher's blurb.
Notes
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Dedication: For Mum
Affiliation Notes
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Writing Disability in Australia:
Type of disability Profound deafness. Type of character Primary. Point of view Third person.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Sound recording.
- Sound recording. (German)
Works about this Work
-
The Publishing Ecosystems of Contemporary Australian Genre Fiction
2018
single work
— Appears in: Creative Industries Journal , vol. 11 no. 2 2018; (p. 203-221)'The cultural and commercial operations of the publishing industry have been dramatically reshaped by digital technologies, yet little is known about how these effects are differentiated across sectors of the industry. This article analyses data about the production of Australian-authored fantasy, romance and crime fiction titles to explore the specific publishing ecosystems of different genres and the roles played by multinational, small press and self-publishing in each. First, we show that there has been across-the-board growth in each genre and for each type of publisher. Second, we argue that multinational publishing activity in these genres has been characterized by broad stability, punctuated by experimentation with genre-specific imprints for romance and fantasy titles. Third, we find that small presses make diverse contributions to genre ecosystems, able to both activate prestige and experiment with formats. Finally, we note the immense growth in self-publishing, particularly in romance, and argue that self-publishing now operates in tandem with traditional publishing to create hybridized publishing ecosystems - with greater potential to transform the traditional publishing model than e-books.' (Publication abstract)
-
Hear No Evil : PW Talks with Emma Viskic
2018
single work
— Appears in: Publishers Weekly , 9 February vol. 265 no. 7 2018; (p. 51)'Australian author Viskic's Resurrection Bay (Pushkin Vertigo, Apr.) marks the debut of deaf detective Caleb Zelic. Why make Caleb deaf? I'm drawn to writing crime fiction because it's a compelling way to explore human motivations.' (Publication abstract)
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Mentor Janette Currie Discusses Resurrection Bay by Emma Viskic
Beth Driscoll
(interviewer),
2017
single work
interview
— Appears in: Genre Worlds : Australian Popular Fiction in the 21st Century [Interviews] 2023; This conversation took place over email between Janette Currie and Beth Driscoll on 14th December 2017. -
Author Emma Viskic Discusses Her Novel, Resurrection Bay
Beth Driscoll
(interviewer),
2017
single work
interview
— Appears in: Genre Worlds : Australian Popular Fiction in the 21st Century [Interviews] 2023; This conversation took place between Emma Viskic and Beth Driscoll on 21st August, 2017. -
It's a Crime Spree as Emma Viskic Snaffles Four Writing Awards
2016
single work
column
— Appears in: Brisbane Times , 28 August 2016; 'Emma Viskic has been on a weekend spree, a crime spree. Her debut novel, Resurrection Bay, not only won three "Davitts" at the Sisters in Crime's awards on Saturday, but followed that up with a "Ned Kelly" on Sunday from the Australian Crime Writers Association. ...'
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Crime Scene : Emma Viskic : Resurrection Bay
2015
single work
review
— Appears in: The Newtown Review of Books , September 2015;
— Review of Resurrection Bay 2015 single work novel -
[Untitled]
2015
single work
review
— Appears in: The Advertiser , 24 October 2015; (p. 27)
— Review of Resurrection Bay 2015 single work novel -
Breaking the Mould on Australia's Mean Streets
2015
single work
review
— Appears in: The Sydney Morning Herald , 19-20 December 2015; (p. 33) The Saturday Age , 19-20 December 2015; (p. 29)
— Review of Resurrection Bay 2015 single work novel ; Detective Work : Who Killed Renee Summers? 2015 single work novel -
Review : Resurrection Bay
2015
single work
review
— Appears in: Books + Publishing , July vol. 95 no. 1 2015; (p. 21)
— Review of Resurrection Bay 2015 single work novel -
Debut Novel Scoops Crime Writing Awards
2016
single work
column
— Appears in: The Age , 29 August 2016; (p. 11) -
It's a Crime Spree as Emma Viskic Snaffles Four Writing Awards
2016
single work
column
— Appears in: Brisbane Times , 28 August 2016; 'Emma Viskic has been on a weekend spree, a crime spree. Her debut novel, Resurrection Bay, not only won three "Davitts" at the Sisters in Crime's awards on Saturday, but followed that up with a "Ned Kelly" on Sunday from the Australian Crime Writers Association. ...' - y Resurrection Bay by Emma Viskic Melbourne : CAE Book Group , 2016 12215075 2016 single work criticism
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Hear No Evil : PW Talks with Emma Viskic
2018
single work
— Appears in: Publishers Weekly , 9 February vol. 265 no. 7 2018; (p. 51)'Australian author Viskic's Resurrection Bay (Pushkin Vertigo, Apr.) marks the debut of deaf detective Caleb Zelic. Why make Caleb deaf? I'm drawn to writing crime fiction because it's a compelling way to explore human motivations.' (Publication abstract)
-
The Publishing Ecosystems of Contemporary Australian Genre Fiction
2018
single work
— Appears in: Creative Industries Journal , vol. 11 no. 2 2018; (p. 203-221)'The cultural and commercial operations of the publishing industry have been dramatically reshaped by digital technologies, yet little is known about how these effects are differentiated across sectors of the industry. This article analyses data about the production of Australian-authored fantasy, romance and crime fiction titles to explore the specific publishing ecosystems of different genres and the roles played by multinational, small press and self-publishing in each. First, we show that there has been across-the-board growth in each genre and for each type of publisher. Second, we argue that multinational publishing activity in these genres has been characterized by broad stability, punctuated by experimentation with genre-specific imprints for romance and fantasy titles. Third, we find that small presses make diverse contributions to genre ecosystems, able to both activate prestige and experiment with formats. Finally, we note the immense growth in self-publishing, particularly in romance, and argue that self-publishing now operates in tandem with traditional publishing to create hybridized publishing ecosystems - with greater potential to transform the traditional publishing model than e-books.' (Publication abstract)
Awards
- 2019 finalist Barry Award — Best Paperback Original
- 2019 shortlisted Best Paperback Original
- 2016 winner Davitt Award — Readers' Choice Award
- 2016 winner Ned Kelly Awards for Crime Writing — Best First Novel
- 2016 joint winner Davitt Award — Best Debut
- Melbourne, Victoria,
- Coast,