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Patrick West Patrick West i(A96004 works by) (birth name: Patrick Leslie West)
Gender: Male
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Works By

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1 Eggs, Hair, Seeds, Milk Patrick West , 2020 single work short story
— Appears in: Landscapes , vol. 10 no. 1 2020;
1 Pauline Patrick West , 2020 single work prose
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , October vol. 24 no. 2 2020;
1 The PhD by Prior Publications in the Creative Arts at Deakin University: Advancing Industry Engagement and Social Justice Outcomes in the Doctoral Degree (Research) Patrick West , 2020 single work criticism
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , April vol. 24 no. 1 2020;
'In late 2016 Deakin University’s School of Communication and Creative Arts (SCCA) added the PhD by Prior Publications in the Creative Arts (Portfolio Creative Product plus Exegesis) to Deakin’s existing complement of PhD by Publication offerings. Candidates from several Creative Arts disciplines, pre-eminently Creative Writing, have enrolled in the PhDPriorPubs. Commencements have included nationally and internationally based artists, including some current Deakin staff members. This article contextualizes the PhDPriorPubs’ origins, describes its inner workings, and provides data on candidate enrolments, graduations and thesis outcomes as of November 2019. It also elaborates on the planning and thinking stages behind the degree’s development, its relationship to the cognate Practice-Led Research methodology, and future prospects and threats. The present-day relevance of PhDs by prior publication is sometimes disputed. This article argues for the ongoing value of degrees like the PhDPriorPubs in pollinating ‘PhD of the Future’ debates and in advancing industry engagement and social justice outcomes in the doctoral degree (research).' (Publication abstract)
1 Regionalism, Well-Being, and Domestic Violence in Tony Birch’s “The Red House” Patrick West , 2019 single work criticism
— Appears in: M/C Journal , vol. 22 no. 3 2019;

'Regional artists are a minority voice in the Australian creative arts. But the ways in which a minority voice is constructed, and the (potential) impact a minoritarian position has within the wider debate about regional well-being and the creative arts, requires careful unpacking. Ironically, creative artists themselves have been relatively neglected actors in this space. Working with Tony Birch’s short story, “The Red House”, as a neglected text of regionalism, this article exposes oversights in current understandings of the connection between well-being and regionalism. '

Source: Author introduction.

1 Sand Castles Are Immaculate Childhood; or, Form Ever Follows Function i "Sand castles are immaculate childhood,", Patrick West , 2019 single work poetry
— Appears in: TEXT Special Issue Website Series , June no. 55 2019;
1 ‘Nhill’ and the Aboriginal Language Revival Movement : Relational Identity, Short Story Titles and ‘contracts of Homophony’ Patrick West , 2017 single work criticism
— Appears in: TEXT : Journal of Writing and Writing Courses , April vol. 21 no. 1 2017;
'This article takes a practice-led research approach to engage with a current debate in Australian post-colonialism centred on the language issues involved with the Aboriginal Language Revival movement. Using the author’s own short story, ‘Nhill’, as a case study, the article develops Amos Oz’s notion of the beginning of a story as a ‘contract’ that all texts make with their readers. ‘Nhill’ is a provocative instance of this sort of contract because it is an English-language corruption, and mis-hearing, of the Aboriginal word, ‘nyell’. Nhill is also a town on the edge of the Little Desert in the Wimmera region of Western Victoria. The article explores the relationship of this place to the implications of the contract that the title ‘Nhill’ makes with its readers. By tracking the practice-led shift in the title of the story from, originally, the English-language name ‘Little Desert’, through to ‘Nhill’ as a homophonic echo of ‘nyell’, the article explores the ethical implications of a ‘contract of homophony’ for the current debate around the Aboriginal Language Revival movement. However, because ‘Nhill’s’ author is a non-indigenous researcher involved in the field of Aboriginal Language Revival, the article’s focus on ‘homophonic ethics’ must itself be situated ethically. ' (Publication abstract)
1 Poetry Patrick West , 2016 single work prose
— Appears in: TEXT : Journal of Writing and Writing Courses , April vol. 20 no. 1 2016;
1 Cicely, Sis Patrick West , 2016 single work short story
— Appears in: Meniscus , November vol. 4 no. 2 2016; (p. 51-55)
1 Doorknocking Patrick West , 2016 single work short story
— Appears in: Antipodes , December vol. 30 no. 2 2016; (p. 326-337)
1 “Glossary Islands” as Sites of the “Abroad” in Post-Colonial Literature : Towards a New Methodology for Language and Knowledge Relations in Keri Hulme’s The Bone People and Melissa Lucashenko’s Mullumbimby Patrick West , 2016 single work
— Appears in: M/C Journal , October vol. 19 no. 5 2016;

'Reviewing Melissa Lucashenko’s Mullumbimby (2013), Eve Vincent notes that it shares with Keri Hulme’s The Bone People (1984) one significant feature: “a glossary of Indigenous words.” Working with various forms of the term “abroad”, this article surveys the debate The Bone People ignited around the relative merits of such a glossary in texts written predominantly in English, the colonizing language. At stake here is the development of a post-colonial community that incorporates Indigenous identity and otherness (Maori or Aboriginal) with the historical legacy of the English/Indigenous-language multi-lingualism of multi-cultural Australia and New Zealand. I argue that the terms of this debate have remained static since 1984 and that this creates a problem for post-colonial theory. Specifically, the debate has favoured a binary either/or approach, whereby either the Indigenous language or English has been empowered with authority over the text’s linguistic, historical, cultural and political territory. Given that the significations of “abroad” include a travelling encounter with overseas places and the notion of being widely scattered or dispersed, the term has value for an investigation into how post-colonialism as a historical circumstance is mediated and transformed within literature. Post-colonial literature is a response to the “homeland” encounter with a foreign “abroad” that creates particular wide scatterings or dispersals of writing within literary texts.' (Introduction)

1 Towards a ‘Non-Didactic Didacticism’ of the Sociopolitical : Assemblages and The Event in 'Surface Tension' and ‘Shame’ Cathryn Perazzo , Patrick West , 2015 single work criticism
— Appears in: Axon : Creative Explorations , November vol. 5 no. 2 2015;
'To write sociopolitical fiction is to be caught in an odd double bind. The term itself, ‘sociopolitical’ (hyphenated or not), implies an ‘assemblage’, and the terms it combines—‘the social’ and ‘the political’—each suggest complex, worldly assemblages. However, the more the writer attempts to express the assembled complexity of the sociopolitical domain, the more he/she feels a tug in the other direction: towards the version of ideas that might best explain the sociopolitical world and motivate political action. This article engages with the aesthetic and political challenges that arise in writing within a genre in which, to some extent at least, a moral content is desired by readers as an explanation for sociopolitical issues, only to be resisted when, as it often does, it becomes didactic. Co-author Cathryn Perazzo’s sociopolitical novel-in-progress, Surface Tension, is, we suggest, a laboratory of an assemblage in action. In it, we test and elaborate our hypothesis of the ‘assembled idea’ or ‘assembled morality’ of the sociopolitical novel. We conclude with a look at a published short story, ‘Shameʼ, by co-author Patrick West, which similarly deals with the sociopolitical, with how ‘non-didactic didacticisms’ might be germinated, and, most explicitly, with the ‘event’, following Deleuze’s use of this term. ' (Publication abstract)
1 2 y separately published work icon The World to Come Patrick West (editor), Strawberry Hills : Spineless Wonders , 2014 8270392 2014 anthology short story science fiction

'In 1738, English preacher, Isaac Watts wrote ‘The world to come’, a Christian tract about departed souls, death, and the glory or terror of the resurrection. Almost 300 years later the world to come still fascinates readers. It’s not only climate change, it’s the climate of everything: from technological ‘advances’ that threaten to create an immortal humanity; to an endless ‘war on terror,’ which means that, though we may never know war, nor will we ever truly know peace; to a thousand visions of post-Apocalyptic life in the media. The world to come is everywhere; it is with us now… In this anthology, twenty-one writers respond to the world to come – the one just around the corner, the hereafter and the everywhen.

''A veritable smorgasbord of sci-fi and speculative fiction by hand-picked writers from across the globe out to amaze, shock and stir readers with a palate for the unexpected and disconcerting. These stories are compelling works of creative genius.'' (Publication summary)

1 Writing 'Nhill' : The Short Story as Still Life Patrick West , 2014 single work essay
— Appears in: Cracking the Spine : Ten Short Stories and How They Were Written 2014; (p. 154-162)
1 Towards a Politics and Art of the Land : Gothic Cinema of the Australian New Wave and Its Reception by American Film Critics Patrick West , 2014 single work criticism
— Appears in: M/C Journal , August vol. 17 no. 4 2014;

'Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mixed international space (Godden). Putatively discrete national cinemas weave in and out of each other on many levels. One such level concerns the reception critics give to films. This article will drill down to the level of the reception of two examples of Australian gothic film-making by two well-known American critics. Rayner’s comparison of Australian gothic with American film noir is useful; however, it begs the question of how American critics such as Pauline Kael and Andrew Sarris influentially shaped the reception of Australian gothic in America and in other locations (such as Australia itself) where their reviews found an audience either at the time or afterwards. The significance of the present article rests on the fact that, as William McClain observes, following in Rick Altman’s footsteps, “critics form one of the key material institutions that support generic formations” (54). This article nurtures the suggestion that knowing how Australian gothic cinema was shaped, in its infancy, in the increasingly important American market (a market of both commerce and ideas) might usefully inform revisionist studies of Australian cinema as a national mode.' (Introduction)

1 Motherhood Statements Patrick West , 2013 single work prose
— Appears in: Meniscus , August vol. 1 no. 1 2013; (p. 49-52)
1 Spinoza / Space / Speed / Sublime : Problems of Philosophy and Politics in the Post-Colonial Fiction of Gerald Murnane Patrick West , 2013 single work criticism
— Appears in: Journal of Post-Colonial Cultures and Societies , vol. 4 no. 1 2013; (p. 1-15)

'This article takes account of the ‘spontaneity’ of the post-colonial fiction of Gerald Murnane within the ‘dominating space’ of the philosophy of Spinoza. My use of Paul Carter’s terms here is strategic. The compact of fiction and philosophy in Murnane corresponds with the relationship of spontaneity to the dominating organization of desire in Carter’s rendering of an Aboriginal hunter. Carter’s phrase “‘a figure at once spontaneous and wholly dominated by the space of his desire’” worries Ken Gelder and Jane M. Jacobs, who suggest that it subjugates the formation of Aboriginal desire (incorporating spontaneity) to impulses of imperialism. The captivating immanence of Spinoza’s philosophy in Murnane’s fiction, which I will demonstrate with various examples, puts pressure on the fiction to occupy the same space as the space of the philosophy. Here is a clue to why Murnane’s post-colonial thematics have been little explored by critics with an interest in post-colonial politics. The desire of Spinoza’s philosophy creates a spatial textuality within which the spontaneity of Murnane’s fiction, to the degree that it maximizes or fills the philosophy, is minimized in its political effects. That is to say, the fiction shifts politics into an external space of what Roland Barthes calls “resistance or condemnation”. However, the different speeds (or timings) of Murnane and Spinoza, within the one space, mitigate this resistance of the outside, at least in respect of certain circumstances of post-coloniality. It is especially productive, I suggest, to engage Carter’s representation of an Aboriginal hunter through the compact of coincidental spaces and differential speeds created by Murnane’s fiction in Spinoza’s philosophy. This produces a ceaseless activation of desire and domination, evidenced in Murnane’s short story ‘Land Deal’, and indexed by a post-Romantic sublime. What limits the value of Murnane’s fiction in most contexts of post-colonial politics, is precisely what makes it useful in the matter of Carter’s Aboriginal hunter.' (Publication abstract)

1 form y separately published work icon Sisters of the Sun Patrick West , Melbourne : Deakin University , 2012 9290558 2012 single work film/TV

'A film about flows of time and language on the Volcanic Plains of Western Victoria. Directed by Simon Wilmot. Produced by Patrick West & Simon Wilmot. Script by Patrick West.

'The past has its place in the future. Wombeetch Puyuun is teaching Scottish-born settler Isabella Dawson his aboriginal tongue so that her father, James Dawson, can write his book. But how can language preserve the past in a land where time overwhelms words? Meanwhile, contemporary Australians from the Volcanic Plains of Victoria’s Western District meditate over life in a place of sheep, algae, eels, lava and stars. Susan Cole and Janice Austin, descendents of Isabella and Wombeetch’s people united for the first time, reflect on Wombeetch’s friendship with James, and what it means to be ‘the last of your tribe.’' (Production summary)

1 3 y separately published work icon The World Swimmers Patrick West , Perth : The International Centre for Landscape and Language for CREATEC, Edith Cowan University , 2011 Z1832527 2011 selected work short story
1 Fictional Footholds in the Cliffs of Raw Experience Patrick West , 2011 single work review
— Appears in: The Weekend Australian , 3 - 4 August 2011; (p. 26)

— Review of Thought Crimes Tim Richards , 2011 selected work short story ; Violin Lessons Arnold Zable , 2011 selected work prose
1 Short Lessons in Creative Storytelling Patrick West , 2011 single work review
— Appears in: The Weekend Australian , 4 - 5 June 2011; (p. 20)

— Review of Bearings Leah Swann , 2011 selected work short story novella ; You Lose These and Other Stories Goldie Goldbloom , 2011 selected work short story