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'Since her divorce a year ago, Kate Thurston feels like she's lurched from one disaster to another. Her teenage daughter, Georgia, seems to have morphed into a monster overnight, and her son Liam breaks her heart with his sad brown eyes.
'When Kate receives news that her grandfather has bequeathed her North Star, the vast property that has been in her family for generations, it feels like the perfect opportunity to flee the hectic pace of city life for a calmer rural existence.
'As soon as she arrives at North Star, however, Kate realises she's going to need every ounce of determination to restore the rundown homestead to its former glory and fulfil her dream of turning it into a bush retreat. And as for the farm, well it's in utter disarray. As she starts to make headway with the homestead's restoration, and falls for a local bloke, Kate finally feels like life is going right for her. Then her ex-husband comes to town and triggers a series of events that will change her life forever ...
'In the tradition of Fleur McDonald and Rachael Treasure, with dollops of mystery and lashings of suspense, North Star will have you reading through the night.' (Publisher's blurb)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Braille.
- Large print.
- Sound recording.
- Dyslexic edition.
Works about this Work
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Australian Rural Romance As Feminist Romance?
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)
-
Australian Rural Romance As Feminist Romance?
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)
