'Georgie Jutland is a mess. At forty, with her career in ruins, she finds herself stranded in White Point with a fisherman she doesn't love and two kids whose dead mother she can never replace. Her days have fallen into domestic tedium and social isolation. Her nights are a blur of vodka and pointless loitering in cyberspace. Leached of all confidence, Georgie has lost her way; she barely recognises herself.
'One morning, in the boozy pre-dawn gloom, she looks up from the computer screen to see a shadow lurking on the beach below, and a dangerous new element enters her life. Luther Fox, the local poacher. Jinx. Outcast...' (From the publisher's website.)
'Georgie Jutland is an unconventional woman in a conventional town, living with her widowed partner, Jim, and his two small children. An encounter with enigmatic poacher Lu, an outsider to the community, reignites her sense of purpose and this unlikely affinity leads them both to find where they truly belong. Based on the Booker Prize shortlisted novel by Tim Winton.'
Source: Screen Australia.
'Percy Bysshe Shelley once described poets as the 'unacknowledged legislators of the world'. If this is true, Australian political scientists have shown curiously little interest in the role that literary figures play in the nation's political life.
'Novel Politics takes the relationship between literature and politics seriously, analysing the work of six writers, each the author of a classic text about Australian society. These authors bridge the history of local writing, from pre-Federation colonial Australia (Catherine Spence, Rosa Praed and Catherine Martin) to the contemporary moment (Tim Winton, Christos Tsiolkas and Kim Scott). Novel Politics unpicks the many political threads woven into these books, as they document the social world as it exists, while suggesting new possibilities for the nation's future. As political commentators of a particular kind, all six authors offer unique insights into the deeper roots of politics in Australia, beyond the theatre of parliament and out into the wider social world, as imagined by its dreamers and criticised by its most incisive discontents.'(Publication summary)
'It’s been a decade since acclaimed Australian filmmaker Phillip Noyce was first linked to a film adaptation of Tim Winton’s 2001 novel Dirt Music. Winner of the Miles Franklin Award and short-listed for the Booker Prize, the book was a prime candidate for the big screen, and the perceived cultural value of the project is reflected in the A-list names who became attached to it at different times during its long development history – including Rachel Weisz, Nicole Kidman, Russell Crowe, Colin Farrell and the late Heath Ledger.' (Introduction)
'Tim Winton's Miles Franklin Award-winning 2001 novel Dirt Music will be adapted for the big screen and filmed in Western Australia.'
'This is the first in-depth, broad-based study of the impact of the Australian High Court’s landmark Mabo decision of 1992 on Australian fiction. More than any other event in Australia’s legal, political and cultural history, the Mabo judgement – which recognised indigenous Australians’ customary native title to land – challenged previous ways of thinking about land and space, settlement and belonging, race and relationships, and nation and history, both historically and contemporaneously. While Mabo’s impact on history, law, politics and film has been the focus of scholarly attention, the study of its influence on literature has been sporadic and largely limited to examinations of non-Aboriginal novels.
'Now, a quarter of a century after Mabo, this book takes a closer look at nineteen contemporary novels – including works by David Malouf, Alex Miller, Kate Grenville, Thea Astley, Tim Winton, Michelle de Kretser, Richard Flanagan, Alexis Wright and Kim Scott – in order to define and describe Australia’s literary imaginary as it reflects and articulates post-Mabo discourse today. Indeed, literature’s substantial engagement with Mabo’s cultural legacy – the acknowledgement of indigenous people’s presence in the land, in history, and in public affairs, as opposed to their absence – demands a re-writing of literary history to account for a “Mabo turn” in Australian fiction. ' (Publication summary)
'The Australian beach has often been considered in academic approaches as a place of binaries – focusing on either the mythic (Fiske, Hodge and Turner 1987) or the ordinary (Morris 1998). An edge to the Australian continent, the liminal space of the beach is one that has received some attention. Using Edward Soja’s (1996) ‘Thirdspace’ concept allows the beach to challenge the space as a liminality and emerge as a more complex beachspace, both mythic and ordinary and more all at once. The Australian beach is a place of significant beauty, while simultaneously a place of risk and danger. Visitors to the space are immediately warned to only swim between the flags, and many beaches are patrolled for the majority of the day all throughout the year. Technology has been employed to identify risk despite the inherent unpredictability of the beach (such as shark sighting technology, weather predictions, and wave cameras), with an aim to provide a safe, everyday space available to all Australians to use. The potential risks of accidental death are high on the beach; however, many representations of death tend to include homicide or suicide. ‘Facing death’ is interested in examining how Australian writers of the beach portray death. Classic texts like Nevil Shute’s On the Beach (1957) are discussed alongside more contemporary texts, including Fiona Capp’s Night Surfing (1996), Tim Winton’s Dirt Music (2001), and Romy Ash’s Floundering (2012). These writers portray death as an inevitability or a continual threat. Films such as Newcastle (2008) represent accidental death in a tight knit local community; in comparison Blackrock (1997) deals with both murder and suicide. This paper illustrates how examining the beach as a more complex space by interrogating Australian writing on the subject allows for an interesting understanding of how death is represented on the Australian beach.' (Publication abstract)