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Cassandra Atherton Cassandra Atherton i(A64631 works by) (a.k.a. Cassandra Lee Atherton; Cassandra L. Atherton)
Born: Established: 1975 ;
Gender: Female
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Works By

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1 Half Moon i "The third night, we drink too much tequila and you sleep on", Cassandra Atherton , 2020 single work poetry
— Appears in: Stilts , September no. 8 2020;
1 ‘The Chernobyl Hibakusha’ : Dark Poetry, the Ineffable and Abject Realities Alyson Miller , Cassandra Atherton , 2020 single work criticism
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , October vol. 24 no. 2 2020;
'Chernobyl occupies a complex space in the Western cultural imagination, complicated by science fiction fantasies, crime thrillers, military-style video games, haunting photo installations, and a recent HBO drama series focusing on the nuclear disaster. While the devastation of the reactor is often regarded as a ‘dark metonym for the fate of the Soviet Union’ (Milne 2017: 95), the nuclear crisis is also at the centre of increasing anxieties about the ‘fate of future generations, species extinction and the damage done to the environment’ (93). Indeed, the enormity of Chernobyl, like Hiroshima, Nagasaki, and Fukushima, is often regarded as beyond representation. By examining a range of poems produced by Chernobylites or derived from witness testimonies, we argue that in confronting the unthinkable, poetry is uniquely able to convey the inexpressible and abject horror of nuclear destruction. Further, in considering the potential for commodification in writing about sites of tragedy, we define poetry about the Chernobyl nuclear disaster as an example of ‘dark poetry’ – that is, poetry exploring or attempting to imagine or reanimate examples of dark tourism. We specifically explore this example of dark poetry to contend that while it often lobbies for nuclear international cooperation, it can also be read as exploitative and romanticising the macabre spectacle of nuclear explosion.' (Publication abstract)
1 Writing Together : Conjunctive Collaboration, Scholarship and Prose Poetry Paul Hetherington , Cassandra Atherton , 2020 single work criticism
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , October vol. 24 no. 2 2020;
'While there is a good deal of literature about collaboration and teamwork it is often in disciplines other than literary studies and creative writing. Relatively few writers have reflected explicitly on their collaborative work – and, indeed, writers are frequently characterised as sole creators, valued for their individuality and originality. However, in an environment where collaborative work is being given increased emphasis in the academy, and where there is broad recognition that claims to autonomy by creative artists are doubtful, this paper reflects on its authors’ experience of a writerly collaborative partnership that grew out of a mutual interest in prose poetry and creative practice, and which resulted in a co-authored monograph on prose poetry for Princeton University Press. This collaborative relationship, which began with modest aims, has been characterised by inventiveness and trust and has developed in unexpected ways. It may be understood as an example of what Donna Lee Brien and Tess Brady (2003) call Joint Collaboration, or what Vera John-Steiner (2000) characterises as Integrative Collaboration. However, the authors propose the alternative term, Conjunctive Collaboration, as a way of characterising the new connections and combinations that their collaborative relationship has brought.'  (Publication abstract)
1 Working in the Shadows : Belated Recognition of Australian Prose Poetry Paul Hetherington , Cassandra Atherton , 2020 single work essay
— Appears in: Australian Book Review , October no. 425 2020; (p. 54)

'Until recently, Australian prose poetry hasn’t attracted much attention – we’re not sure why. Having written prose poetry for years, we’re both fascinated by the form, which can be loosely defined as poems written in paragraphs and sentences rather than in stanzas and lines.' (Introduction)

1 Canberra Nara Peace Park i "Pastel words fill teacups and creep into the spaces between", Cassandra Atherton , 2020 single work poetry
— Appears in: Australian Poetry Anthology 2020; (p. 44)
1 Awkward Child : The Irrepressible Verse Novel Cassandra Atherton , 2020 single work review
— Appears in: Australian Book Review , September no. 424 2020; (p. 54)

— Review of Inside the Verse Novel : Writers on Writing Linda Weste , 2020 selected work interview

'In his description of the verse novel as ‘the awkward child of successful parents, destined to disappoint both of them’, Michael Symmons Roberts emphasises the form’s sometimes disjunctive use of literary techniques commonly associated with poetry and prose fiction. While the verse novel has gained popularity since the 1980s, many of its features may be traced to epic poems such The Epic of Gilgamesh and Homer’s The Iliad, and the long narrative poems of the Romantic and Victorian periods. The form was established by Alexander Pushkin’s nineteenth-century verse novel Eugene Onegin, which was divided into stanzas; however, the definition and key features of the verse novel are still hotly debated.' (Introduction)

1 An Intertextual Poiesis : The Luminous Image and a ‘Round Loaf of Indian and Rye’ Paul Hetherington , Cassandra Atherton , 2020 single work criticism
— Appears in: New Writing , vol. 17 no. 3 2020; (p. 259-271)

'Making poetry and the act of reading are intimately connected. Such reading, along with poetry research and scholarship, has the capacity to open new avenues for creative thought and fresh pathways to creative work, particularly through intertextual strategies. In this way, literary scholarship may provide a lens for seeing more deeply into one’s own creative writing practice; and reading and writing may be viewed as having intimate linking tendrils. The nineteenth-century American poet Emily Dickinson produced a large body of work characterised by numerous intertextual strategies and references, much of which speaks to the present day. Further, her poetic preoccupations focus on issues connected to the self and personal identity – and an associated critique of conventional mores – providing an exemplar for contemporary poets with related interests and preoccupations. For instance, Cassandra Atherton’s book, Exhumed, uses the metaphor of interring and disinterring to discuss a range of intertexts buried or unearthed in her prose poetry, and these works humorously interpret and self-reflexively explore the experience of women writing; and Paul Hetherington’s prose poetry sequence, Palace of Memory, makes use of significant intertexts – including from Dickinson – to assist him in ‘reading’ his own experience and making new work.' (Publication abstract)

1 y separately published work icon Leftovers Cassandra Atherton , Elizabeth Bay : Gazebo Books , 2020 19764434 2020 collected work poetry

'Atherton’s treatment of the prose poem in Leftovers creates a synæsthesia-like experience. Her inventive regard of ordinary things triggers a breadth of sensations and memories, blurring in and out of her real world and her other ‘real’ world of literary fiction.'

(Source: publisher's blurb)

1 Distorted Depiction i "Picasso says love is dangerous, like a house that's falling down.", Cassandra Atherton , 2020 single work poetry
— Appears in: Island , no. 159 2020; (p. 43)
1 y separately published work icon Scars : An Anthology of Microlit Cassandra Atherton (editor), Strawberry Hills : Spineless Wonders , 2020 19678691 2020 anthology poetry prose

'This year’s anthology of Australian microliterature from Spineless Wonders explores the theme of scars—how they mark us, how they mark the world around us, and the intriguing stories that they tell. From healing the scarred remains of an abandoned mine, to a kidney making peace in its final moments, to a concussion that sparks a supernova, each little story has a little something for everyone.

'Edited by Cassandra Atherton with a Preface by Gabrielle Fletcher, the anthology includes pieces by commissioned Indigenous and non-Indigenous writers as well as finalists in the 2019 joanne burns Microlit Award. Featured authors Raelee Lancaster, Paul Collis, Brenda Saunders, Steve Kinnane, Sam Wagan Watson, Benjamin Laird, Judith Crispin, Jessica Wilkinson and Shady Cosgrove.'

Source: Publisher's blurb.

1 A Politics of Naming a Zuihitsu i "When Keiko Ogura asks me to step into the atomic space, I don't respond.", Cassandra Atherton , 2020 single work poetry
— Appears in: Rabbit , June no. 30 2020; (p. 114-116)
1 3 y separately published work icon The Anthology of Australian Prose Poetry Cassandra Atherton (editor), Paul Hetherington (editor), Melbourne : Melbourne University Press , 2020 19564336 2020 anthology poetry

'Prose poetry is a resurgent literary form in the English-speaking world and has been rapidly gaining popularity in Australia. Cassandra Atherton and Paul Hetherington have gathered a broad and representative selection of the best Australian prose poems written over the last fifty years.

'The Anthology of Australian Prose Poetry includes numerous distinguished prose poets-Jordie Albiston, joanne burns, Gary Catalano, Anna Couani, Alex Skovron, Samuel Wagan Watson, Ania Walwicz and many more and documents prose poetry's growing appeal over recent decades, from the poetic margins to the mainstream.

'This collection reframes our understanding not only of this dynamic poetic form, but of Australian poetry as a whole.' (Publication summary)

1 'Tell All the Truth but Tell It Slant' : Poetic Truth and Indirectness Paul Hetherington , Cassandra Atherton , 2020 single work essay
— Appears in: Axon : Creative Explorations , May vol. 10 no. 1 2020;

'In poetry, there is probably no such thing as simple or unslanted truth. This is because, as John Gibson remarks, ‘[p]oetry does not earn its claim to truth by mirroring an external world or by stating discrete, correct, “facts” about it’ (2015: 14). Yet, notwithstanding poetry’s aversion to discrete ‘facts’, poets fairly often mention truth in their work and a well-known example is Emily Dickinson’s teasing and ambiguous statement, ‘Tell all the truth but tell it slant —’ (1998: 1089).' (Introduction)

1 Circuit i "The house is floating, and the rooms are breathing. It’s no magic carpet, yet the motion travels", Paul Hetherington , Cassandra Atherton , 2020 single work poetry
— Appears in: Axon : Creative Explorations , May vol. 10 no. 1 2020;
1 What Is Dark Poetry? Cassandra Atherton , 2020 single work essay
— Appears in: Axon : Creative Explorations , May vol. 10 no. 1 2020;

'In 2012, I stood at the window of the Texas School Book Depository in Dealey Plaza and marvelled at the people dodging traffic to get a photo of themselves on the X where the fatal bullet hit JFK on his motorcade. Years later, I read Malcolm Foley and J John Lennon’s article, ‘JFK and Dark Tourism’ and understood that I had visited the quintessential dark tourist site identified in their study.' (Publication summary)

1 La Grippe i "I’m obsessed with Spanish things: cava, Velazquez’s Las", Cassandra Atherton , 2020 single work poetry
— Appears in: TEXT Special Issue Website Series , April no. 58 2020;
1 The Hypermarket by Gabriel García Ochoa Cassandra Atherton , 2020 single work review
— Appears in: Australian Book Review , April no. 420 2020;

— Review of The Hypermarket Gabriel Garcia Ochoa , 2019 single work novel

'The Hypermarket, an enigmatic and deeply uncanny novel, explores ‘mistranslation’ against the backdrop of Nietzsche’s philosophy of Eternal Return. Gabriel García Ochoa’s début novel transforms the Houghton Library at Harvard University into a Borgesian space. As the narrator is undertaking his research, he comes across an excerpt from a letter copied into an old diary. It details the lives of people living in a supernatural Hypermarket, ‘where the linoleum floor gives way to moss and a young, tender turf’. In a highly significant moment, the narrator rips out the pages and stores them in volume six of The Arabian Nights.' (Introduction)

1 Committed to Memory Cassandra Atherton , 2019 single work review
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , October vol. 23 no. 2 2019;

— Review of Autobiochemistry Tricia Dearborn , 2019 selected work poetry ; Keeper of the Ritual Shey Marque , 2019 selected work poetry
1 Peripheral Knowledge and Feeling: the Perimeters Poems Paul Hetherington , Cassandra Atherton , 2019 single work criticism
— Appears in: TEXT Special Issue Website Series , October no. 57 2019;
'A great deal of what any of us know and feel is elusive, and much of what we ‘know’ is at the periphery of consciousness. Sometimes this (often subversive) knowledge or feeling is composed of nearly inaccessible memory material; sometimes it consists of bodily knowledge still being formed into mental concepts and searching for the language in which it may be expressed. This knowledge is often situated on the outskirts of our usual modes of apprehension and – to the extent that we access it at all – is experienced as an intuition, intimation, mood, hint, inkling, suggestion or glimpse. In the right circumstances, writers are able to bring such knowledge into their creative compositions – and, indeed, there is occasionally a sense that art is the medium that finally permits its full expression. As a way of exploring some of our ‘peripheral’ knowledge through an intuitive creative process, in early 2018 we embarked on a collaborative project to write prose poems (which we exchanged as text messages) exploring the idea of perimeters. To date we have produced a series of prose poems for this ongoing collaborative project.' (Publication abstract)
1 [Review] Lucky Ticket Cassandra Atherton , 2019 single work review
— Appears in: Australian Book Review , November no. 416 2019; (p. 54)

— Review of Lucky Ticket Joey Bui , 2019 selected work short story
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