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Listening to the Land extract   essay  
Issue Details: First known date: 2009... 2009 Listening to the Land
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Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon The Age 2 May 2009 Z1584135 2009 newspaper issue 2009 pg. 14-15 Section: A2

Works about this Work

‘Ropes of Stories’ : Jean Rhys, Vivienne Cleven and Melissa Lucashenko Jessica Gildersleeve , 2015 single work criticism
— Appears in: Queensland Review , June vol. 22 no. 1 2015; (p. 75-84)

'Cultural narratives also function as lifelines in the work of another Queensland Indigenous woman writer, Vivienne Cleven. Cleven's novel, Bitin’ Back (2001), begins when Mavis Dooley's son, Nevil, announces that he is no longer Nevil, but the writer Jean Rhys. Although Nevil eventually reveals that he has simply been acting as a woman in order to understand the protagonist of the novel he is writing, his choice of Rhys in particular is significant. Nevil selected Jean Rhys as a signifier of his female role because, he explains:

She's my favourite author; she wrote Wide Sargasso Sea [1966]. She was ahead of her time; she wrote about society's underdogs; about rejection and the madness of isolation. I know it sounds all crazy to you, Ma, but this is about who I am . . . [A] lot of people would never understand me and they wouldn't want to. (2001: 184)' (Publication abstract)

‘Ropes of Stories’ : Jean Rhys, Vivienne Cleven and Melissa Lucashenko Jessica Gildersleeve , 2015 single work criticism
— Appears in: Queensland Review , June vol. 22 no. 1 2015; (p. 75-84)

'Cultural narratives also function as lifelines in the work of another Queensland Indigenous woman writer, Vivienne Cleven. Cleven's novel, Bitin’ Back (2001), begins when Mavis Dooley's son, Nevil, announces that he is no longer Nevil, but the writer Jean Rhys. Although Nevil eventually reveals that he has simply been acting as a woman in order to understand the protagonist of the novel he is writing, his choice of Rhys in particular is significant. Nevil selected Jean Rhys as a signifier of his female role because, he explains:

She's my favourite author; she wrote Wide Sargasso Sea [1966]. She was ahead of her time; she wrote about society's underdogs; about rejection and the madness of isolation. I know it sounds all crazy to you, Ma, but this is about who I am . . . [A] lot of people would never understand me and they wouldn't want to. (2001: 184)' (Publication abstract)

Last amended 4 May 2009 15:49:51
14-15 A2 Listening to the Landsmall AustLit logo The Age
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