y Jillaroo single work   novel  
Issue Details: First known date: 2002... 2002 Jillaroo
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Notes

  • Dedication: For my husband John, who made this book happen, and for my dearly departed Dougall dog.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Camberwell, Camberwell - Kew area, Melbourne - Inner South, Melbourne, Victoria,: Penguin , 2002 .
      Extent: 470p.
      ISBN: 0143000241
    • Camberwell, Camberwell - Kew area, Melbourne - Inner South, Melbourne, Victoria,: Penguin , 2005 .
      Extent: 470p.
      ISBN: 0143000241

Works about this Work

Australian Rural Romance As Feminist Romance? Lauren O’Mahony , 2014 single work criticism
— Appears in: Australasian Journal of Popular Culture , September vol. 3 no. 3 2014; (p. 285-298)
'A short story originally published in 1900 by writer and poet Henry Lawson captured the perceived incompatibility of women and life in remote Australia with its refrain that the bush ‘was no place for a woman!’. The suggestion in Lawson’s story is that the bush could easily prove fatal to women and for men it could undo them, mentally and spiritually. Now at the start of the new millennium, many barriers to women living and working in rural Australia have been challenged or removed altogether. Yet, recent sociological research, such as that undertaken by Margaret Alston, argues that gender inequality is an ongoing problem in rural communities. For example, one persistent stereotype is that men undertake the meaningful work in rural life while women watch from the sidelines, simply ‘help’, or see their contribution downplayed or downright ignored. This article explores how a new breed of bestselling novels, variously dubbed ‘chook lit’ or ‘contemporary Australian rural romance’, use a romantic structure to represent gender inequality in a rural setting. The article draws examples from Jillaroo (Rachael Treasure, 2002), The Bark Cutters (Nicole Alexander, 2010) and North Star (Karly Lane, 2011) to show the varying approaches to the romance plot that construct gutsy heroines, depict important rural issues and leave readers with endings that, as in other romances, offer ‘a utopian projection which expresses a critical evaluation of the contemporary patriarchal order’ (Cranny-Francis 1990: 191). This article argues that contemporary Australian rural romances raise questions about the romance plot while critiquing aspects of gender inequality specific to the context. In turn, such novels may encourage and inspire female readers (if they so choose) to do more in rural life than sit on the fence watching the men.' (Publication abstract)
Teaching an Old Dog New Tricks? : Romance, Ethics and Human-Dog Relationships in a Rural Australian Novel Lauren O’Mahony , 2014 single work criticism
— Appears in: Journal of Popular Romance Studies , vol. 4 no. 2 2014;

'Rachael Treasure is Australia’s most popular author in the mainstream rural romance genre. Her novels combine bush or agricultural landscapes with gutsy heroines who are keen to transcend the context’s sexist pecking order. This article focuses on the representation of working dogs, romance and the ethics plot in Treasure’s first novel, Jillaroo (2002). Dogs, particularly the heroine’s well trained kelpies, progress and hinder the novel’s romance; they play a central role in some of the romantic elements yet are conspicuously absent in others. Relationships between humans and dogs unlock the novel’s ethics plot. This plot emphasises certain behaviours and attitudes between humans and non-humans and aligns readers’ sympathies with particular characters while encouraging disidentification with others. Jillaroo’s heroine Rebecca Saunders and her dogs undertake typical farm jobs efficiently and economically thereby securing her entry into spaces usually reserved for men. Rebecca shows herself to be equal, if not superior, in action and knowledge to the men who populate such contexts. Dogs therefore assist in constructing Rebecca as an example of Sherri Inness’s ‘tough woman’, heroines who use their “body, attitude, action, and authority” (Inness 24) to challenge the dominance of male heroes in popular culture and disrupt gender roles and stereotypes. Dogs also complicate Rebecca’s gender construction by undercutting and disturbing her feminine gender performances. For the novel’s male characters, interactions with dogs indicate their mental health and their “interspecies competence” (Fudge 11). A close reading of the relationships between Jillaroo’s main characters and dogs reveals that the narrative endorses and rejects particular human-human, human-animal and human-environment behaviours, ultimately positioning readers to value the ethical treatment of others (human and non-human) and the environment. Overall, Jillaroo’s romance narrative and representation of working dogs emphasises contemporary gender, environmental and animal rights issues in rural Australia, imparting a vital lesson to readers about the ethical treatment of others.'

Source: Abstract.

Books That Changed Me...Fiona Palmer Fiona Palmer , 2013 single work column
— Appears in: The Sun-Herald , 14 April 2013; (p. 12) The Sunday Age , 21 April 2013; (p. 15)
Profile : Rachael Treasure Rachael Treasure , 2013 single work column
— Appears in: Writing Queensland , 13 October no. 234 2013; (p. 4-5)
Romance and Rodeos Rule as Readers Turn to 'Chook Lit' Kylie Northover , 2012 single work column
— Appears in: The Age , 30 April 2012; (p. 6)
Untitled Marlene Dullard , 2003 single work review
— Appears in: Fiction Focus : New Titles for Teenagers , vol. 17 no. 1 2003; (p. 38)

— Review of Jillaroo Rachael Treasure 2002 single work novel
In Short : Fiction Michael McGirr , 2005 single work review
— Appears in: The Sydney Morning Herald , 9-10 July 2005; (p. 22)

— Review of Jillaroo Rachael Treasure 2002 single work novel
Soft Covers Cameron Woodhead , 2002 single work review
— Appears in: The Age , 17 August 2002; (p. 8)

— Review of Evidence Emma Tom 2002 single work novel ; When You Wake and Find Me Gone Maureen McCarthy 2002 single work novel ; Jillaroo Rachael Treasure 2002 single work novel
Rural Romance Christopher Bantick , 2002 single work review
— Appears in: The West Australian , 26 August 2002; (p. 11)

— Review of Jillaroo Rachael Treasure 2002 single work novel
Country Connection Ben Groundwater , 2002 single work review
— Appears in: Brisbane News , 25 September - 1 October 2002; (p. 28)

— Review of Jillaroo Rachael Treasure 2002 single work novel
Romance and Rodeos Rule as Readers Turn to 'Chook Lit' Kylie Northover , 2012 single work column
— Appears in: The Age , 30 April 2012; (p. 6)
Books That Changed Me...Fiona Palmer Fiona Palmer , 2013 single work column
— Appears in: The Sun-Herald , 14 April 2013; (p. 12) The Sunday Age , 21 April 2013; (p. 15)
Profile : Rachael Treasure Rachael Treasure , 2013 single work column
— Appears in: Writing Queensland , 13 October no. 234 2013; (p. 4-5)
Australian Rural Romance As Feminist Romance? Lauren O’Mahony , 2014 single work criticism
— Appears in: Australasian Journal of Popular Culture , September vol. 3 no. 3 2014; (p. 285-298)
'A short story originally published in 1900 by writer and poet Henry Lawson captured the perceived incompatibility of women and life in remote Australia with its refrain that the bush ‘was no place for a woman!’. The suggestion in Lawson’s story is that the bush could easily prove fatal to women and for men it could undo them, mentally and spiritually. Now at the start of the new millennium, many barriers to women living and working in rural Australia have been challenged or removed altogether. Yet, recent sociological research, such as that undertaken by Margaret Alston, argues that gender inequality is an ongoing problem in rural communities. For example, one persistent stereotype is that men undertake the meaningful work in rural life while women watch from the sidelines, simply ‘help’, or see their contribution downplayed or downright ignored. This article explores how a new breed of bestselling novels, variously dubbed ‘chook lit’ or ‘contemporary Australian rural romance’, use a romantic structure to represent gender inequality in a rural setting. The article draws examples from Jillaroo (Rachael Treasure, 2002), The Bark Cutters (Nicole Alexander, 2010) and North Star (Karly Lane, 2011) to show the varying approaches to the romance plot that construct gutsy heroines, depict important rural issues and leave readers with endings that, as in other romances, offer ‘a utopian projection which expresses a critical evaluation of the contemporary patriarchal order’ (Cranny-Francis 1990: 191). This article argues that contemporary Australian rural romances raise questions about the romance plot while critiquing aspects of gender inequality specific to the context. In turn, such novels may encourage and inspire female readers (if they so choose) to do more in rural life than sit on the fence watching the men.' (Publication abstract)
Teaching an Old Dog New Tricks? : Romance, Ethics and Human-Dog Relationships in a Rural Australian Novel Lauren O’Mahony , 2014 single work criticism
— Appears in: Journal of Popular Romance Studies , vol. 4 no. 2 2014;

'Rachael Treasure is Australia’s most popular author in the mainstream rural romance genre. Her novels combine bush or agricultural landscapes with gutsy heroines who are keen to transcend the context’s sexist pecking order. This article focuses on the representation of working dogs, romance and the ethics plot in Treasure’s first novel, Jillaroo (2002). Dogs, particularly the heroine’s well trained kelpies, progress and hinder the novel’s romance; they play a central role in some of the romantic elements yet are conspicuously absent in others. Relationships between humans and dogs unlock the novel’s ethics plot. This plot emphasises certain behaviours and attitudes between humans and non-humans and aligns readers’ sympathies with particular characters while encouraging disidentification with others. Jillaroo’s heroine Rebecca Saunders and her dogs undertake typical farm jobs efficiently and economically thereby securing her entry into spaces usually reserved for men. Rebecca shows herself to be equal, if not superior, in action and knowledge to the men who populate such contexts. Dogs therefore assist in constructing Rebecca as an example of Sherri Inness’s ‘tough woman’, heroines who use their “body, attitude, action, and authority” (Inness 24) to challenge the dominance of male heroes in popular culture and disrupt gender roles and stereotypes. Dogs also complicate Rebecca’s gender construction by undercutting and disturbing her feminine gender performances. For the novel’s male characters, interactions with dogs indicate their mental health and their “interspecies competence” (Fudge 11). A close reading of the relationships between Jillaroo’s main characters and dogs reveals that the narrative endorses and rejects particular human-human, human-animal and human-environment behaviours, ultimately positioning readers to value the ethical treatment of others (human and non-human) and the environment. Overall, Jillaroo’s romance narrative and representation of working dogs emphasises contemporary gender, environmental and animal rights issues in rural Australia, imparting a vital lesson to readers about the ethical treatment of others.'

Source: Abstract.

Last amended 28 Mar 2011 10:44:05
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