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NAWE 2023 Conference – Living as a Writer: Creative Writing in Education & Communities

Join the writing in education community this March at the NAWE 2023 Conference, 10-11 March, Online, and explore what it means to live as a writer in 2023 and beyond. A chance to make connections and share valuable insights with fellow writers working in education and the community across the UK and further afield. Two days of 45+ talks, workshops, panels and networking opportunities, to boost and benefit your writing and teaching practice. Keynotes from Patrice Lawrence on Living as a Writer and Blake Morrison and Maura Dooley on What is the future of education?

Early bird tickets from only £39 available until 7 February.

Conference sponsors: York Centre for Writing based at York St John University and Bloomsbury.  Info and to book at https://bit.ly/3WAYg0l

Applications Open: Lecturer or Senior Lecturer in Digital Storytelling and Writing

The University of New England is advertising for a Lecturer or Senior Lecturer in Digital Writing and Storytelling to join us in a fulltime continuing basis at the Armidale campus. The Lecturer/Senior Lecturer in Digital Storytelling and Writing will support research and teaching in both creative storytelling and also empirical, evidence-based storytelling and narrative. This role will support future curriculum development. The successful applicant will have experience with high-quality development of digital-first course/unit design and of online and hybrid modes of teaching.

Closing date for applications is 5 February.

LinkedIn: https://au.linkedin.com/jobs/view/lecturer-or-senior-lecturer-digital-storytelling-and-writing-at-hays-3400346049

Seek: https://www.seek.com.au/job/59799143?type=standard#sol=f7e5518ae6d86dd32e4884fb60026d26cdc0c92d

CALL FOR PAPERS: Creativecritical Writing Now 

A Special Issue of TEXT Journal of Writing and Writing Courses 


This Special Issue aims to explore forms of, and approaches to, creativecritical writing: writing which performs scholarly and creative functions simultaneously. Such blended approaches are no longer new—indeed, they are tracking distinct paths and uses in various contexts inside academia and beyond. As such, this Special Issue will take stock of the current nexus between the creative and the critical, as well as speculate on future conceptions of hybrid creative writing /scholarship.  


The creativecritical mode has a long lineage across fictocritical, autotheoretical and ethnographic writing, as well as creative nonfiction and the essay form. Recently, creativecritical writing has gained popular currency, as evidenced by the work of Rebecca Solnit, Anne Carson, and Maggie Nelson. It is also attracting critical momentum, most noticeably at doctoral level, where, as Kylie Cardell and Kate Douglas note, ‘Many postgraduates [in Life Writing] are engaging in projects where the creative and critical/exegetical are an integrated text’ (207–208). In this Special Issue of TEXT, we invite articles (of roughly 6-8,000 words) that engage with the functions, processes, poetics and ethics of creativecritical writing in its many forms (creative nonfiction, fiction, academic writing, poetry/poetics, testimony and more). These engagements should constellate, in order to ask: Where are we now, and what is next for creativecritical writing? We hope to encourage a compiling of the essayistic, the fictocritical, life writing, the seamless, and more, to assess how the exegesis—and creative writing as research more broadly—might be conceived through a creativecritical lens. 


Potential contributors might like to consider:

  • What creativecritical writing approaches do within research? (And, what have they done,
    where are we now, and where we are going?).  
  • Creativecritical possibilities for the exegesis, and questions regarding what counts as
    scholarly output (E.g., what creative writing might do to shift the lexical possibilities of
    scholarly work; how it can work within institutions). Articulating the role of the exegesis, creative exegetical forms, teaching/doing exegetical writing. 
  • Creativecritical approaches as indicative/supportive of new vistas in representation, such as embodied thinking or non-dualistic approaches. (What kind of work is necessary at this juncture? How do thought/body/lived experience interact with scholarly forms? How can life writing operate as scholarship?). 
  • The critical power in creative work, and the inherent criticality of creative expression. (What is creative and what is critical? How can the ‘ancient quarrel’ (Brien and Webb 2012) between poetry and philosophy be re-visited? Is creative work possibly critical work?). 
  • The popular turn towards the creativecritical. 
  • The difference, in creative writing scholarship, between explaining the work and the work being research. 
  • The lineage of creativecritical forms: fictocriticism, art writing, autoethnography, essay. 
  • The ethics of creativecritical writing.  
  • Potential forms and approaches to writing that makes and considers/reflects/thinks 
  • Hybridity in academic writing. 
  • The essay and essayism in scholarly contexts; braided writing and blended forms.

How to submit your expression of interest:  
Please submit a 200-word Expression of Interest by email to Stefanie Markidis and Daniel Juckes with ‘Creativecritical Writing Now’ as the subject line. In your EOI please outline how your paper or work(s) explore(s) aspects of the creativecritical mode. Please also include the following information: your full name, institutional affiliation (if any), email address, title of paper/work, brief biography (50–100 words), and 3 to 5 keywords (at least 2 of which should clearly relate to the issue’s title).
Deadline for EOIs: April 14, 2023.

Deadline for finished works: June 30, 2023.  
Enquiries: Daniel Juckes (daniel.juckes@uwa.edu.au) or Stefanie Markidis (stefanie.markidis@rmit.edu.au)

Applications Open: Visiting Professor of Australian Studies

The Centre for Pacific and American Studies (CPAS) at the University of Tokyo is seeking applications for a Visiting Professor of Australian Studies for 2023-24 and 2024-25. This is a teaching and research position for approximately 10 months duration, and is open to Australian citizens and permanent residents only. CPAS welcomes applications from highly qualified candidates with significant academic or public achievement in the field of Australian Studies broadly defined, including but not limited to cultural studies, history, literature, politics and society, philosophy and ethics, Indigenous issues, migration, foreign policy and international relations and environmentalism. Whilst Australia should remain the main focus, applications are also welcomed from candidates whose field of study covers the broader Pacific regions including Oceania, Polynesia, Micronesia and North America, with an emphasis on issues that are of particular relevance to the changing dynamics in the political economy and cross-cultural interchange in the area.

The Visiting Professor in Australian Studies is required to teach at undergraduate and graduate levels; to present conference papers; to conduct research; and to participate in promoting Australian Studies within Japan. All teaching is conducted in English. An attractive salary package and subsidised accommodation are available. The appointment is for a period of approximately 10 months and will commence in September 2023 or September 2024. Applicants may be considered for either term or both terms.

For details, including application instructions, salary and housing arrangements, and further information, please see the position description. Applications are due 1 February 2023. Enquiries should be directed to Professor Kate Darian-Smith at the University of Tasmania (kate.dariansmith@utas.edu.au), who is managing the selection process on behalf of the International Australian Studies Association (InASA).

Duration: Approximately 10 months
Commencement of position: Late September 2023 or late September 2024. Applicants may apply to be considered for a specific term only or for either term. This must be indicated clearly on your application.
Closing date for applications: 1 February 2023

Winners of the 2022 ARA Historical Novel Prize Announced

Historical Novel Society Australasia (HNSA), in partnership with Australia’s leading essential building and infrastructure services provider ARA Group, is excited to announce the winners of the 2022 ARA Historical Novel Prize.

The winner of the 2022 ARA Historical Novel Prize – Adult Category is Corporal Hitler’s Pistol by Tom Keneally (Penguin Random House).
The winner of the 2022 ARA Historical Novel Prize – Children and Young Adult (CYA) Category is Rabbit, Soldier, Angel, Thief, by Katrina Nannestad (HarperCollins Australia).

This year’s winners make the past come alive in an astonishing way. Their luminous prose conjures worlds that intertwine history with imagination to explore themes of survival, identity, desire and power. Both novels embody storytelling at its very best.
The ARA Historical Novel Prize is worth a total of $100,000 in prize monies. The Prize will award $50,000 to the Adult category winner, with $5,000 awarded to each of the two shortlisted authors. In the Children and Young Adult (CYA) category, the winner will receive $30,000, while the two shortlisted authors will receive $5,000 each. The ARA Historical Novel Prize has been made possible through the generous patronage of ARA Group. The ARA Group, and its Founder, Executive Chair and CEO, Edward Federman, are committed to supporting the arts and literature.

2022 ARA Historical Novel Prize Shortlists Announced

Historical Novel Society Australasia (HNSA), in partnership with Australia’s leading essential building and infrastructure services provider ARA Group, is excited to announce the Shortlists for the 2022 ARA Historical Novel Prize.

This year’s Shortlists explore a diverse range of powerful themes, from reinvention, diversity and the meaning of truth, through to self-reliance, confidence and fulfilling one’s dreams. The Shortlists demonstrate the power of historical fiction to bring the past vividly to life, explore often unspoken truths, and illuminate the challenges faced by humankind throughout the centuries.

The ARA Historical Novel Prize is worth a total of $100,000 in prize monies. The Prize will award $50,000 to the Adult category winner, with an additional $5,000 to be awarded to each of the remaining two shortlisted authors. In the Children and Young Adult (CYA) category, the winner will receive $30,000, while the two shortlisted authors will receive $5,000 each.

The Winners of the 2022 ARA Historical Novel Prize will be announced on Thursday 20 October 2022.

For further information, visit: https://hnsa.org.au/


The Shortlist for the 2022 ARA Historical Novel Prize – Adult Category is:

  • Horse by Geraldine Brooks (Hachette Australia)
  • Corporal Hitler’s Pistol by Tom Keneally (Penguin Random House)
  • Cold Coast by Robyn Mundy (Ultimo Press)

The Shortlist for the 2022 ARA Historical Novel Prize – Children and Young Adult (CYA) Category is:

  • Katipo Joe: Wolf’s Lair by Brian Falkner (Scholastic New Zealand)
  • Rabbit, Soldier, Angel, Thief by Katrina Nannestad (HarperCollins Publishers Australia)
  • The Wearing of the Green by Claire Saxby (Walker Books)

AAWP and Ubud Writers and Readers Festival Prizes 2022 Winners Announced

We are delighted to announce the winners of the 2022 AAWP/UWRF Emerging Writers’ Prize and the AAWP/UWRF Translators’ Prize.

The winner of the Emerging Writers’ Prize is ‘This is just to say’ by Karen McKnight.

The winner of the Translators’ Prize is ‘Great Sertão: Meanderings’ by Alison Entrekin.


Congratulations to Karen and Alison, and thanks to everyone who contributed an entry in such a rich collection of work.

You can read more details about these and other AAWP writing prizes, as well as the judge’s reports and winner bios, over on our Prizes page.

ANIA WALWICZ: Call for Papers SYMPOSIUM AND JOURNAL SPECIAL ISSUE

To celebrate the legacy of her multi-faceted artistry an Ania Walwicz Symposium will be
held at Deakin Downtown, Collins St, Melbourne, 10th February 2023. ] We are interested
in programming a range of papers that speak to Ania’s work, from papers that engage
the general reader or fictocritical and/or creative presentations, to more traditional
scholarly papers. Creative responses might include other media (film, sound, e-lit etc.).
Symposium presenters will also be invited to submit their creative works and/or critical
papers to be published later in 2023 as part of a special issue of a literary journal (such
as TEXT, to be confirmed at a later date). The special issue will be edited by Marion May
Campbell, Anna Gibbs, and Sneja Gunew.
Please submit to all three: Marion May Campbell (email: angelbeigesang@gmail.com) Anna
Gibbs (A.Gibbs@westernsydney.edu.au); Sneja Gunew (sneja.gunew@ubc.ca) a THREE-
LINE description of the creative or fictocritical piece NOT exceeding 15 minutes that you
would like to present for the symposium. We are looking for work to engage the general
literary reader, rather than specialist scholarly work. After the Symposium, you will be
invited to develop your piece to a 3000 word-limit for a peer-reviewed Special Issue: Ania
Walwicz.

We would like the three-line submissions by Nov 30th 2022.

Decisions will be made by Dec 17th.


You might like to consult the following resources:

Call for papers

Editors Lili Pâquet and Rosemary Williamson (University of New England, Australia) invite submissions of chapters for an edited collection: True Crime and Women: Writers, Readers, and Representations.

Proposals due by Friday 26 August.

Research on true crime demonstrates that while it once was mainly targeted at male audiences (Punnett, 2018), in recent decades it has been consumed by women (Boling & Hull, 2018). This shift is significant in several ways. The representations of women as victims and perpetrators in true crime have had effects on cultural perceptions around crime and safety. True crime readers are less supportive of criminal justice institutions, and audience’s fears can have real effects on the public opinion of legal policies around crime (Kort-Butler & Hartshorn, 2011). Studies of true crime often aim to discover why audiences are drawn to true crime (see Harris & Vitis, 2020), finding that women look for survival strategies in the genre (Browder, 2006; Vicary & Fraley, 2010) and for a kind of informal justice outside formal institutions such as courtrooms (Pâquet, 2021). The genre also presents women with the issues related to their representation through media (Yardley, Wilson & Kennedy, 2017; Slakoff 2022).

Editors Lili Pâquet and Rosemary Williamson (University of New England, Australia) invite submissions for a peer-reviewed edited collection to be proposed for Routledge’s new ‘Studies in Crime, Culture and Media’ series. We are interested in chapters that investigate the intersections of the true crime genre, cultural perceptions of justice, media (both traditional and new media forms), and women (as readers, writers, or through representations within narratives).

We are looking for academic chapters on the following topics, but are open to other related topics:

  • The representation of women in true crime, as victims or criminals
  • Female audiences of true crime, their motivations and responses
  • Feminist true crime
  • Writing and structuring narratives in true crime
  • Rhetorical analyses of true crime
  • How true crime affects perceptions of gender-based violence
  • True crime podcasts
  • Historic true crime
  • True crime on screen: documentaries, TV series
  • Fictionalised true crime such as Inventing Anna, The Dropout, etc.
  • Institutional justice and its intersections with true crime
  • Quantitative and qualitative research of true crime audiences
  • True crime and biography, autobiography, memoir or biofiction
  • True crime from the writer’s perspective

Deadlines

Please send proposals of up to 500 words, plus short bios of up to 50 words to Lili Pâquet at lpaquet@une.edu.au by Friday 26 August 2022. We will notify authors of the outcome in September 2022. Full chapters will be 5000-6000 words length.

References

Boling, K. S. & Hull, K. “Undisclosed Information – Serial is my Favorite Murder: Examining Motivations in the True Crime Podcast Audience.” Journal of Radio & Audio Media 25.1 (2018): 92-108.

Browder, L. “Dystopian Romance: True Crime and the Female Reader.” The Journal of Popular Culture 39.6 (2006): 928-953.

Harris, B. & Vitis, L. “ Digital Intrusions: Technology, Spatiality and Violence Against Women.” Journal of Gender-Based Violence 4.3 (2020): 325-341.

Kort-Butler, L.A. & Hartshorn, K.J.S. “Watching the Detectives: Crime Programming, Fear of Crime, and Attitudes about the Criminal Justice System.” The Sociological Quarterly 52.1 (2011): 36-55.

Pâquet, L. “Seeking Justice Elsewhere: Informal and Formal Justice in the True Crime Podcasts Trace and The Teacher’s Pet.” Crime Media Culture 17.3 (2021): 421-437.

Punnett, I.C. Toward a Theory of True Crime Narratives: A Textual Analysis. New York and London: Routledge, 2018.

Slakoff, D.C. “The Mediated Portrayal of Intimate Partner Violence in True Crime Podcasts: Strangulation, Isolation, Threats of Violence, and Coercive Control. Violence Against Women 28.6-7 (2022): 1659-1683.

Vicary, A.M. & Fraley, R.C. “Captured by True Crime: Why Are Women Drawn to Tales of Rape, Murder, and Serial Killers?” Social Psychological and Personality Science 1.1 (2010): 81-86.

Yardley, E., Wilson, D. & Kennedy, M. “‘To Me Its [sic] Real Life’: Secondary Victims of Homicide in Newer Media.” Victims and Offenders: An International Journal of Evidence-Based Research, Policy, and Practice 12.3 (2017): 467–496.