AustLit
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Contents
-
Saying Father,
single work
biography
(p. 1-21)
Note: Includes portrait of Tom Flood.
- Jimmie the Punk : An Excerpt from an Unfinished Story..., single work short story (p. 23-51)
- Snapshots, single work autobiography biography (p. 53-76)
- Blood, single work biography (p. 77-96)
- Family Portrait As Happy as This, single work prose autobiography (p. 97-116)
- Song of the Suitcase, single work prose biography (p. 117-140)
- The Photo, 1955, single work short story (p. 141-167)
- Under the Net, single work prose biography (p. 169-188)
- Shaping Up, single work biography (p. 189-205)
- The True Story of an Escape Artist, single work autobiography (p. 207-236)
- Just Like a Flotsam and Jetsam Sort of Thing, single work short story (p. 237-254)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
The Biographer’s Dilemma : What Have You Done with My Life?
2009
single work
criticism
— Appears in: Australian Studies , vol. 1 no. 1 2009;'Recent decades have seen the rise of a modern publishing phenomenon: mass public participation in the production and consumption of various forms of Life Writing.
Biography has been "democratised". The growth and diversity in the informal production of Biography underlines the confidence with which it is produced, effectually a statement that "my life is worth telling too." Similarly the commercially produced biographical product is subject to media and public scrutiny as never before, dissected for factuality and fairness.
There is an expectation that a subject, or a subject‟s friends, enemies, or relatives, have a right of reply to the printed word. The challenge to academics and biographers then, is to admit that the authorial voice is not tenured, and that a greater collaborative approach must be taken which shares power over the writing of a life.' (Author's abstract)
-
Collections of Relevance to Life in the '90s
1994
single work
review
— Appears in: The Canberra Times , 17 December 1994; (p. C11)
— Review of Family Pictures 1994 anthology short story prose biography autobiography ; She's a Train and She's Dangerous : Women Alone in the 1990s 1994 anthology poetry prose short story interview biography -
Family Ties Fail to Create a Bond
1994
single work
review
— Appears in: The Sunday Age , 4 December 1994; (p. 8)
— Review of Family Pictures 1994 anthology short story prose biography autobiography -
The Dynamics of Family
1994
single work
review
— Appears in: Australian Book Review , November no. 166 1994; (p. 18-19)
— Review of Family Pictures 1994 anthology short story prose biography autobiography -
Straddling Two Cultures
1994
single work
review
— Appears in: The Age , 5 November 1994; (p. 8)
— Review of Family Pictures 1994 anthology short story prose biography autobiography ; The Borrowed Girl 1994 single work novel
-
Forecasts
1994
single work
review
— Appears in: Australian Bookseller & Publisher , August vol. 74 no. 1050 1994; (p. 35)
— Review of Family Pictures 1994 anthology short story prose biography autobiography -
Facts, Fictions and Families - the People You Have to Live With
1994
single work
review
— Appears in: The Sydney Morning Herald , 15 October 1994; (p. 11A)
— Review of Family Pictures 1994 anthology short story prose biography autobiography -
Tricky Topic
1994
single work
review
— Appears in: The Weekend Australian , 5-6 November 1994; (p. rev 6)
— Review of Family Pictures 1994 anthology short story prose biography autobiography -
Straddling Two Cultures
1994
single work
review
— Appears in: The Age , 5 November 1994; (p. 8)
— Review of Family Pictures 1994 anthology short story prose biography autobiography ; The Borrowed Girl 1994 single work novel -
The Dynamics of Family
1994
single work
review
— Appears in: Australian Book Review , November no. 166 1994; (p. 18-19)
— Review of Family Pictures 1994 anthology short story prose biography autobiography -
The Biographer’s Dilemma : What Have You Done with My Life?
2009
single work
criticism
— Appears in: Australian Studies , vol. 1 no. 1 2009;'Recent decades have seen the rise of a modern publishing phenomenon: mass public participation in the production and consumption of various forms of Life Writing.
Biography has been "democratised". The growth and diversity in the informal production of Biography underlines the confidence with which it is produced, effectually a statement that "my life is worth telling too." Similarly the commercially produced biographical product is subject to media and public scrutiny as never before, dissected for factuality and fairness.
There is an expectation that a subject, or a subject‟s friends, enemies, or relatives, have a right of reply to the printed word. The challenge to academics and biographers then, is to admit that the authorial voice is not tenured, and that a greater collaborative approach must be taken which shares power over the writing of a life.' (Author's abstract)
