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Jen Webb Jen Webb i(A21752 works by)
Gender: Female
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Works By

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1 History Jen Webb , Penelope Layland , single work poetry
1 y separately published work icon Everyday Words & Creative Practice : Ten Australian Poets in Conversation Jen Webb (editor), Monica Carroll (editor), Jen Webb (interviewer), Kevin Brophy (interviewer), Waratah : Puncher and Wattmann , 2019 17213331 2019 selected work interview
1 With Wit and Tenderness, Miles Franklin Winner Melissa Lucashenko Writes Back to the ‘Whiteman’s World’ Jen Webb , 2019 single work column
— Appears in: The Conversation , 30 July 2019;

'Too Much Lip joins the other prizewinning volumes in Melissa Lucashenko’s trophy cabinet. Her first-ever novel, Steam Pigs (1997), was shortlisted for or won several major prizes, and in the past two decades her books have racked up 26 awards.' (Introduction)

1 Grief, Racism and Uncertain Futures: Your Guide to the 2019 Miles Franklin Shortlist Jen Webb , 2019 single work column
— Appears in: The Conversation , 30 July 2019;

'I think it’s fair to say that each year the selected novels on the Miles Franklin shortlist manifest the zeitgeist, reflecting on some of the issues that are troubling society.' (Introduction) 

1 Troubled Waters : A Collaboration Jen Webb , Andrew Melrose , 2019 single work criticism
— Appears in: Axon : Creative Explorations , April no. C4 Special Issue 2019;

'‘Human, All Too Human is the monument of a crisis ... the title means “where you see ideal things, see what is—human, alas, all-too-human”—I know man better’ (Nietzsche 1967a: 283; emphasis in original). So writes Nietzsche, opening his remarkable self-portrait Ecce Homo (‘Behold, the man’; written 1888, first published 1908), and reflecting bleakly on the mass of humanity. It is difficult to dispute this perspective given that, over the century-plus since Nietzsche wrote this, history has recorded crisis after crisis. Human is indeed all too human, never the ideal of which individuals and populations dream.' (Introduction)

1 Political Poetics : Two New Poetry Collections Jen Webb , 2019 single work review
— Appears in: Australian Book Review , April no. 410 2019; (p. 51-52)

— Review of Blakwork Alison Whittaker , 2018 selected work poetry ; Walking With Camels : The Story of Bertha Strehlow Leni Shilton , 2018 selected work poetry

'Alison Whittaker’s début collection, Lemons in the Chicken Wire (2015), introduced a genuinely new voice to Australian poetry: that of a Gomeroi woman, a Fulbright scholar, and a poet who can bend and blend forms with the best of them. Her second collection of poems, Blakwork, places her firmly in both the broad community of celebrated Australian poets and the celebrated Aboriginal writers in Magabala’s lists.'  (Introduction)

1 Working It Out Jen Webb , 2019 single work short story
— Appears in: Verity La , February 2019;
1 Stenza Jen Webb , 2018 selected work poetry
— Appears in: Prosody 2018;
1 y separately published work icon Prosody Jen Webb , Paul Munden , Cassandra Atherton , Jordan Williams , Paul Hetherington , Kambah : Recent Work Press , 2018 15373147 2018 anthology poetry

'Prosody involves the elements and techniques that attend to the making of poetry, even free verse poetry and hybrid poetic works. Prose poets may work with sentences and paragraphs rather than lines and stanzas, but they too value poetic techniques highly. These five chapbooks explore the relationship of prose poetry to various aspects of prosody. This occasions considerable inventiveness on the part of all contributors and results in a wide variety of moving and entertaining prose poetry.'  (Publication summary)

1 Going Against the Grain Jen Webb (interviewer), 2018 single work interview
— Appears in: Axon : Creative Explorations , November vol. 8 no. 2 2018;

'Sarah Rice and Jen Webb met at the Bookplate café in the National Library of Australia, Canberra, in November 2014, as part of an ARC-funded project into poetry and creativity (DP130100402), to talk about Sarah’s own creative practice and her experience of thinking and making across several modes.'  (Introduction)

1 Finding (Our) Voices Jen Webb , Donna Lee Brien , Cassandra Atherton , 2018 single work essay
— Appears in: Axon : Creative Explorations , November vol. 8 no. 2 2018;

'This has been a challenging and illuminating issue to edit, and we hope it will be similarly challenging and illuminating to read. The contributions in this issue have been gathered together from various sources including a number of events addressing the themes of this issue. Primarily, these were the Turning Point: Creative Arts and Trauma symposium (University of Canberra, 7 June 2017), and the Narratives of Health and Wellbeing Research Conference (CQUniversity, Noosa campus, 26–27 October 2017). In addition, a series of interviews generated from the ARC-funded project, Understanding Creative Excellence: A Case Study in Poetry (DP130100402) sparked the idea of recruiting more conversations between creative practitioners working in a range of art practices: poetry, prose fiction, film and visual art in particular. Together, these contributions comprise a fascinating, revealing and sometimes provocative collection.'  (Introduction)

1 1 y separately published work icon Axon : Creative Explorations Turning Points : Narratives, Health, and Speaking the Self vol. 8 no. 2 November Jen Webb (editor), Donna Lee Brien (editor), Cassandra Atherton (editor), 2018 15077590 2018 periodical issue

'The contributions in this issue have been gathered together from various sources including a number of events addressing the themes of this issue. Primarily, these were the Turning Point: Creative Arts and Trauma symposium (University of Canberra, 7 June 2017), and the Narratives of Health and Wellbeing Research Conference (CQUniversity, Noosa campus, 26–27 October 2017). In addition, a series of interviews generated from the ARC-funded project, Understanding Creative Excellence: A Case Study in Poetry (DP130100402) sparked the idea of recruiting more conversations between creative practitioners working in a range of art practices: poetry, prose fiction, film and visual art in particular. Together, these contributions comprise a fascinating, revealing and sometimes provocative collection.' (Editorial introduction)

1 y separately published work icon Moving Targets Jen Webb , Canberra : Recent Work Press , 2018 14704378 2018 selected work poetry

'Even the memories of memory are fading. It has been decades since this all began.

'Jen Webb’s new collection of prose poetry riffs on the idea of the unspoken, the unexpressed-silences: deliberate and unconscious- as they are found in politics, in poetry, in the minutaie of personal relationships and histories. This is a powerful book of trying to pin down some kind of truth, or point to the place where it should exist.'

Source: Publisher's blurb.

1 The Life to Come - This Year’s Miles Franklin Winner - Is a Brilliant Character Study Jen Webb , 2018 single work column
— Appears in: The Conversation , 26 August 2018;

'Michelle de Kretser’s The Life To Come, which has won the 2018 Miles Franklin Award, begins with an epigraph from Samuel Beckett’s Endgame:

CLOV: Do you believe in the life to come? 
HAMM: Mine was always that.' (Introduction)

 

1 Your Guide to the Miles Franklin Shortlist : A Kaleidoscopic Portrait of a Diverse Nation Jen Webb , 2018 single work column
— Appears in: The Conversation , 23 August 2018; The Guardian Australia , 23 August 2018;

'The Miles Franklin award is famously for “a novel which is of the highest literary merit and presents Australian life in any of its phases”. That’s a very broad palette, yet for most of the award’s existence — 1957 to the present — it has recognised a rather narrow field of “Australian life”.' (Introduction)

1 The Possibilities of Water Lorraine Webb , Jen Webb , 2018 single work criticism
— Appears in: Axon : Creative Explorations , May vol. 8 no. 1 2018;

'Each new collaboration is a new country: no matter how familiar the partners might be, no matter how literate each is in their own professional area, they enter the zone of the unknown. The processes and patterns of meeting, making, debating, shaping, discussing, disputing and finally realising the project all happen on ground no one in the collaboration has ever before trodden; or, at least, haven’t trodden in quite that way. This paper discusses a collaboration in which the participants decided to take the ‘zone of the unknown’, both by adopting a framework they’d not previously used, and by stepping blindly into possibility, hoping/assuming that a project and a process would reveal themselves.'  (Introduction)

1 Introduction Caren Florance , Jen Webb , Jordan Williams , 2018 single work
— Appears in: Axon : Creative Explorations , May vol. 8 no. 1 2018;

'Material poetics is not a new concept. The last century has seen the boundaries of creative genres dissolve, allowing attentiveness to materiality — once the exclusive concern of sculpture and craft — to pervade and tantalise less tangible practices. The development of a digital realm has not destroyed materiality, as originally feared, but served to foreground it; and the collaboration that can take place between digital and analogue, verbal and visual, is what drives this issue.' (Introduction)

1 Interrogating the Diaspora Jessica Abramovic , Jen Webb , 2018 single work essay
— Appears in: TEXT : Journal of Writing and Writing Courses , April vol. 22 no. 1 2018;

'Jen met Roanna Gonsalves in 2007 when she came to the Australasian Association of Writing Programs (AAWP) conference, hosted at the University of Canberra. Her paper used Bourdieu’s constructs in a genuinely fresh way: examining the relationship between the literary field, and how creative writers produce their works, from the original story idea all the way through to editing and publication. So Jen knew back then that Gonsalves, too, was a huge Bourdieu fan; but didn’t know she was also a writer of sharp, smart, moving short stories.'  (Introduction)

1 After the Carnival Jen Webb , 2018 single work criticism
— Appears in: Axon : Creative Explorations , February no. C2 2018;

'Academics and artists have been talking about carnival-the-concept for about a century now, and still finding fresh things to say. In very broad terms, the concept can be understood as bifurcated between two opposing logics. The first, somewhat nostalgically, celebrates carnival as a space of freedom, and of opposition to the established relations of power (e.g. Bakhtin 1984a). The second, somewhat unsentimentally, identifies carnival as a means for authority to mask, and thereby maintain, the status quo (e.g. Turner 1969).' (Introduction)

1 1 After the Carnival i "Bittersweet. The honey on my tongue. The scent of flowers when they’re on the turn. You", Jen Webb , 2018 single work poetry
— Appears in: Axon : Creative Explorations , February no. C2 2018;
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