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Kim Munro Kim Munro i(A5528 works by)
Gender: Unknown
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Works By

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1 Diarology for Beginners : Articulating Playful Practice through Artless Methodology Kim Munro , Peta Murray , Stayci Taylor , 2020 single work criticism
— Appears in: New Writing , vol. 17 no. 1 2020; (p. 80-100)

'Here we set out to map, through epitextual moves, the first year of our practice-based research into ‘diary performance’, taking up Watkins and Krauth’s call for ‘new ways of “doing” and of “writing up” research that are discipline and form/genre relevant' (2016. “Radicalising the Scholarly Paper: New Forms for the Traditional Journal Article.” TEXT: Journal of Writing and Writing Courses 20 (1)). We offer the emergent methodology we call diarology much as it was discovered: chronologically, playfully and intuitively, through voicings, listenings, space for awkward silences and the serendipitous, and increasing attention to the métissage of our interleavings. We draw on the possibilities of playful practices both as means of inquiry and as sources of new knowledge, recalling Halberstam who encourages scepticism around modes of ‘disciplinary correctness’, suggesting they confirm the ‘already known according to approved methods of knowing [but] do not allow for visionary insights of flight or fancy' (2011. The Queer Art of Failure. Durham: Duke University Press). The outcome re-purposes found materials to create new life narratives, each iteration finding form and gathering vitality within the extemporaneous/ephemeral architecture of ‘essayesque dismemoir' (Murray 2017. “Essayesque Dismemoir: w/rites of elder-flowering”. PhD Thesis, RMIT University).' (Publication abstract)
1 Advanced Diarology : Mortification, Materiality and Meaning-making Stayci Taylor , Kim Munro , Peta Murray , 2019 single work criticism
— Appears in: TEXT Special Issue Website Series , October no. 57 2019; 'Public diary-reading events, arguably originating in the USA in 2002, continue to draw participants eager to share their teenage angst and juvenilia, yet there is little scholarly reflection on this peripheral practice of performative writing. Having birthed our own version in 2017 – within the safe harbour of the academy and using an intuitive, practice-based methodology – we believe there are some useful questions to pose about the autoethnographic contributions of this mortification rite. Eighteen months in, we are further moved to ask, what is happening in the presentational and performative space as we show our younger selves to one another as we have, and do? This article, a follow-up to our previous Diarology for beginners (2019), formally reiterates on the page the associative leaps and communal meaning-making arising from our explorations so far. Prompted by questions, such as, ‘Is the practice of diary keeping inherently gendered? Is it about becoming visible? Audible? Memorable? What? And what is the impulse to publicly share the archives?’ (Munro, Murray and Taylor 2019), we draw on the literature around diary keeping, as well as theories on voice, gender and creative autoethnography, as a way into understanding diary performing and the public sharing of juvenile shame.' (Publication abstract)
1 Spike's Turn to Visit Kim Munro , 1994 single work short story
— Appears in: Heartland , April no. 9 1994; (p. 6)
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