AustLit

'A warm and engaging memoir about freedom, adventure, and fathers and sons, set against the sumptuous backdrop of Corfu.

At the age of eighteen, Kari Gislason arrives on the island of Corfu after a life-altering encounter with his father in Iceland. Looking for adventure, he decides to stay after meeting 'the Pirate', a mysterious Greek stranger who offers him work - only to find himself eventually fleeing the island, leaving behind a debt he promises to repay.

'Three decades later, as a father of two teenage sons, he returns to Corfu with his family. As he revisits his memories of the island, he begins to understand that this place has shaped the adult he has become, and that the inevitable letting go of his own children lies ahead.

'Full of the colour and vitality of the Greek islands, Running with Pirates traverses the joys and challenges of parenthood, the fearlessness of youth, the debts of our past, and the stories we tell ourselves and our children.' (Publication summary)

'In the quest to understand the muse of my novel, the tragic outlaw of an ancient saga, I travelled to Iceland. As I wandered through the landscape of my heroine, I faced the limits of what it means to inhabit the point of view of a character.' 

'Since the memoir boom in the 1990s, non-fiction forms have continued to increase in popularity and market share, and hybrid forms such as autofiction and semi-autobiographical novels have established a pronounced place in literary culture. Yet many creative writing programmes remain focussed on fiction, reflecting students’ overwhelming interest in pursuing the novel as a form, and reluctance to see their own lived experiences as material for creative work. However, rather than seeing the novel and memoir as competing or dichotomous forms, we suggest that the trend in literary culture is to witness a collapsing of these distinctions in favour of hybrid works which sit on a spectrum of perceived truth claims. This article outlines a pedagogical response to a gap that exists between students’ understandings of the novel and memoir genres, and the increasing complication and hybridity emerging between those forms. We outline the pedagogical theory informing our approach, which emphasises complex and hybrid thinking, experimentation and reflective authorship practice. We argue that teaching novel and memoir in tandem encourages students to view life writing and fiction as existing on a spectrum of formal possibilities rather than fixed generic types, and cultivates students’ awareness of these developments in the field.' (Publication abstract)

'This month, we take a peek into the writing routine of author Kári Gíslason, whose new novel The Sorrow Stone, an epic and compelling novel that reimagines the fate of one of Iceland’s famous women of history, is out now from UQP.' (Introduction)

'After committing an audacious act of revenge for her brother’s murder, Disa flees with her son Sindri through the fjords of Iceland. She has already endured the death of her loved ones. Now she must run to save her son, and her honour.

'In a society where betrayals and revenge killings are rife, all Disa has is her pride and her courage. Will it be enough for her and her son to escape retribution?

'Dramatic and urgent in its telling, The Sorrow Stone celebrates one woman’s quest, against the dramatic backdrop of the Icelandic countryside. In this gripping novel, the co-author of the bestselling Saga Land takes a sidelined figure from the Viking tales and finally puts her where she belongs – at the centre of the story.'

Source: Publisher's blurb.

'At the beginning of this wide-ranging collection of criticism by the novelist, critic, and academic Anthony Macris, the author notes wryly that an early candidate for the book’s title was Personality Crisis, such is its diversity of topics and styles. The implication here is that reviews and essays form a kind of autobiography. I’m not sure I would use the word ‘crisis’ to describe it, but certainly the portrait we have in this case is of a writer driven by very different kinds of curiosity: about literature and writing but also the art forms that lie beyond them – and, as centrally, by a social and political curiosity about the ways those forms change when they respond to the world around us.' (Introduction)

'A gripping blend of family mystery, contemporary stories and the beautiful and bloody Viking tales, set against the starkly stunning landscape of Iceland.

'Broadcaster Richard Fidler and author Kari Gíslason are good friends. They share a deep attachment to the sagas of Iceland - the true stories of the first Viking families who settled on that remote island in the Middle Ages.These are tales of blood feuds, of dangerous women, and people who are compelled to kill the ones they love the most. The sagas are among the greatest stories ever written, but the identity of their authors is largely unknown.

'Together, Richard and Kari travel across Iceland, to the places where the sagas unfolded a thousand years ago. They cross fields, streams and fjords to immerse themselves in the folklore of this fiercely beautiful island. And there is another mission: to resolve a longstanding family mystery - a gift from Kari's Icelandic father that might connect him to the greatest of the saga authors.' (Publication summary)

'Growing up with his father in a small coastal town, all Ted knows about his mother is that she died when he was a boy. His father has brought them halfway across the world to start anew, but her absence defines and haunts their lives.

'When Ted meets Anthony and Claire, an intense friendship begins, carrying them to Sydney and university. They introduce him to poetry and art, and he feels a sense of belonging at last. But as the trio’s friendship deepens over the years, Ted must learn to negotiate the boundaries of love, and come to terms with a legacy of secrets and silence.

'Written with extraordinary grace and sensitivity, The Ash Burner explores beauty and desire, grief and loss, and the search for one’s true self.' (Publication summary)

'In a key moment of reflection and pause, Romulus, My Father offers the reader a key to its interpretation. The author – philosopher Raimond Gaita – tells us that ‘Plato said that those who love and seek wisdom are clinging in recollection to things they once saw’. This reference to the Greek philosopher’s work Phaedrus occurs when the boy Raimond is about eight years old. He seems already to understand much about his father, in particular his father’s goodness, which he finds expressed in his workmanship, his honesty, and his commitment to friends. And yet, as Plato forewarns us, a search for the ultimate wisdom of such things must come later – several decades on, when Gaita is faced with the task of writing his father’s eulogy. It is then that a sense of his father’s character is joined to his own search for wisdom, a combination of biography and reflection that marks the memoir form at its best, and shapes the ultimate impact of Romulus, My Father.' (Introduction)