scholarly journals All the Juicy Pastures: Greville Texidor and New Zealand

2019 ◽  
Author(s):  
Kristin Bluemel
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Civil War ◽  
Short Story ◽  
Spanish Civil War ◽  
Woman Writer ◽  
Non Fiction

If you type the name Greville Texidor into a Wikipedia search bar, you may be asked if you mean instead ‘grevillea teodor’. Alternatively, you’ll be redirected to biographical websites for Maurice Duggan, one of postwar New Zealand’s most famous short story writers, or Kendrick Smithyman, editor of Greville Texidor’s volume of selected fiction, In Fifteen Minutes You Can Say a Lot. To learn anything about Greville Texidor herself, you need to read All the Juicy Pastures: Greville Texidor and New Zealand, by Wellington-based writer Margot Schwass. Beautifully written, deeply researched, richly illustrated, this critical biography addresses the question of why we should care about the career of a woman writer born in England in 1902, who died by her own hand in Australia in 1964, and who in her lifetime published only seven short stories, a post- Spanish Civil War novella called These Dark Glasses, a few translations of Lorca poems, and a smattering of other non-fiction pieces. Schwass also tackles the question of why we should care about Greville Texidor as a New Zealand writer.

scholarly journals L’encaix de la narrativa sense ficció de Víctor Labrado en el paradigma de la novel·la històrica valenciana

2019 ◽  
Vol 14 ◽  
pp. 329
Author(s):  
Dari Escandell
Keyword(s):  
Civil War ◽  
Present Article ◽  
Spanish Civil War ◽  
Historical Novel ◽  
Civil Conflict ◽  
Past Century ◽  
Historical Novels ◽  
Literary Works ◽  
Past Time ◽  
Non Fiction

Resum: L’escriptor valencià Víctor Labrado (Sueca, 1956) s’ha erigit com un dels grans referents contemporanis en el camp de la novel·la de no-ficció en català, subgènere narratiu que conjumina la intenció metanovel·lesca amb fidedignes discursos testimonials. Ara bé, ¿les obres cabdals de Labrado –peculiars, idiosincràtiques i gens usuals– poden ser considerades també, sense subterfugis ni matisos, novel·la històrica? A grans trets: trames guerracivilistes empeltades d’entrevistes, dosis generoses de periodisme documental i absència gairebé absoluta de ficció. La tècnica i l’estil propi no suposen, però, cap impediment perquè molts llibres seus siguen alhora novel·la històrica, si fem cas dels topoi convinguts per la crítica especialitzada. No debades, aquests exemplars esdevenen, al capdavall, testimoni viu d’un temps passat; vivències i peripècies de gent anònima que rescaten de l’oblit, des de la particularitat més universal, la realitat valenciana d’un segle passat vilment estigmatitzat pel conflicte civil de l’any 1936 i la dictadura consegüent. ¿N’hi ha prou amb això, però, perquè aquesta etiqueta o clixé siga atribuïble també a la resta de la seua obra i trajectòria? El present article analitza a nivell tècnic, argumental i conceptual els llibres essencials de Labrado per tal de determinar quina part de la seua novel·lística sense ficció pot o no considerar-se al seu torn novel·la històrica.Paraules clau: Víctor Labrado, novel·la sense ficció, novel·la històrica, literatura catalana, valencià.Abstract: The Valencian writer Víctor Labrado (Sueca, 1956) has emerged as one of the great contemporary references in the field of the non-fiction novel in Catalan, a narrative subgenre that combines the fictional intention with real testimonial speeches. However, can Labrado’s capital books –peculiar, idiosyncratic and unusual– be considered also, without subterfuges or hints, historical novels? Broadly speaking: are his Spanish civil war plots grafted with interviews, generous doses of documentary journalism and almost absolute absence of fiction, historical novels? Its techniques and style are no impediment to say so, if we pay attention to the topoi agreed by the specialized critic. In fact, these novels become, in short, a living testimony of our past time: they rescue from oblivion the experiences and adventures of anonymous people, from the most universal particularity, and the Valencian reality of a past century stigmatized by the civil conflict of 1936 and the consequent dictatorship. Is that enough, however, to attribute this label to the rest of his literary works? This paper analyses the techniques, the plots and the concepts of Labrado’s essential books to determine what part of his nonfiction novels may or may not be considered historical.Keywords: Víctor Labrado, nonfiction novel, historical novel, Catalan literature, Valencian

scholarly journals Between two worlds: a study of migrant writers in New Zealand

2021 ◽  
Author(s):  
◽  
Schwass Margot
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Short Story ◽  
Full Account ◽  
Migrant Literature ◽  
Secondary Material ◽  
Unpublished Work ◽  
Migrant Writing

<p>This thesis begins with a consideration of what constitutes migrant writing, and points to the difficulties in arriving at an absolute definition. Some justification is given for the fact that the ensuing discussion concerns short stories alone, and some of the particular qualities of the short story which make it an appropriate form for migrant literature are examined. The first chapter also makes a brief survey of the context for migrant writing within New Zealand literature, and compares the work of several short story writers, migrant and non-migrant. The work of two New Zealand migrant short story writers is discussed closely in the chapters that follow: Amelia Batistich's stories are examined in Chapter Two, and Yvonne du Fresne's in Chapter Three. In each discussion, formal qualities are given equal attention as matters of content and theme. The final chapter attempts to draw connections between the work of these two writers and the problems of definition raised in the first chapter. Consideration is also given to the attitudes and expectations of readers of migrant fiction. The appendices to the thesis contain biographies of Amelia Batistich and Yvonne du Fresne, and transcripts of conversations with them. The conversations were recorded in 1984, and have been lightly edited. A bibliography is included which provides a selective guide to the two authors published and unpublished work, and a full account of all secondary material consulted.</p>

scholarly journals In conversation with Catherine Cole

2017 ◽  
Vol 4 (1) ◽  
Author(s):  
Jaydeep Sarangi
Keyword(s):  
Short Stories ◽  
Creative Writing ◽  
Short Story ◽  
Crime Fiction ◽  
Short Story Collection ◽  
Film And Television ◽  
Non Fiction ◽  
Sea Birds ◽  
The Arts ◽  
Dry Dock

Catherine Cole is currently Professor of Creative Writing in the Faculty of Law, Humanities and the Arts, University of Wollongong, NSW, Australia. In March 2017, she will take up the position of Professor in Creative Writing at Liverpool John Moores University in Liverpool, UK. Catherine has published three novels, Dry Dock (1999) and Skin Deep (2002) and The Grave at Thu Le (2006), two non-fiction books, Private Dicks and Feisty Chicks: An Interrogation of Crime Fiction (1996) and The Poet Who Forgot (2008). She is the editor of the anthology, The Perfume River: Writing from Vietnam (2010) and co-editor with McNeil and Karaminas of Fashion in Fiction: Text and Clothing in Literature, Film and Television (2009). Her poetry, short stories, essays and reviews have been published in Australia and internationally and produced by BBC Radio 4. In 2017 Catherine’s short story collection, Sea Birds Crying in the Harbour Dark, will be published by UWA Press.

scholarly journals J.C.Sturm: Before the Silence: An Exploration of Her Early Writing

2021 ◽  
Author(s):  
◽  
Margaret Michael
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Literary History ◽  
Second World War ◽  
Woman Writer ◽  
Literary Canon ◽  
Literary Context ◽  
Main Tendency ◽  
Second World

<p>This thesis considers the early works of J. C. Sturm, her own thesis, her short stories, articles and book reviews written in the 1950s before her writing and publishing silence. It examines where this writing places her in context of the post-Second World War period and where it could have placed her in the New Zealand literary canon had it not been for her ensuing literary silence.  The first chapter briefly discusses the nature of literary silences and then introduces Sturm with some biographical information. It details the approach that I take writing the thesis using three readings of her works: as social informer; as woman writer; and as Maori writer. These readings inform my commentary on her work and attempt to place her in the literary canon of the fifties. I discuss my reservations, as a Pakeha, in approaching Sturm as a Maori writer.  I use Sturm’s own comments “that many literary works can be taken as social documents and many authors can be taken as social informers” as a licence to use Sturm herself as “social informer”. It can be demonstrated how the ideas she promulgates in her thesis, New Zealand Character as Exemplified in Three New Zealand Novelists are developed in her short stories, articles and book reviews and in how Sturm holds her mirror up to New Zealand society.  Reading Sturm as a "woman” writer demonstrates how, through her short stories, she destroyed the “idyll of suburban domesticity”. Terry Sturm wrote of women’s writing of the 1970s that “its main tendency is to challenge male accounts of New Zealand society and culture”. Twenty years before this date I show that J. C. Sturm was writing that woman’s account and challenging the male expectations of a woman’s place in the home and society.  Using Sturm’s description that being a Maori writer is “a way of feeling”, her short stories and articles published in Te Ao Hou enable a discussion of Maori writing in the fifties, exploring both the writing context and the critical environment in which this writing was received. The hindsight provided by this exploration some fifty to sixty years on demonstrates the forgetting and misremembering that can happen in a literary context and the effect that forgetting can have on a Maori literary history.  In the final section I reconstruct the somewhat artificially deconstructed strands that have made up the previous chapters, bringing Sturm’s works together as a whole to enable a discussion on Sturm’s rightful place in the New Zealand’s literary canon of the fifties, as well as exploring further the natures of Sturm’s silence in order to bring some remembering into the long forgetting of Sturm’s early work.</p>

Bowen, The Bell, and the Late-Modernist Short Story

2021 ◽  
Vol 51 (1) ◽  
pp. 72-84
Author(s):  
Elke D'hoker
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Short Fiction ◽  
Literary Form ◽  
Woman Writer ◽  
Irish Woman ◽  
Fiction Writer

This essay looks at Elizabeth Bowen's presence in The Bell during the war years. She contributed an essay, a short story, two pieces of memoir, two obituaries, and a few other, smaller pieces to the magazine, but also featured in an interview, several reviews, and O'Faoláin's editorials and critical essays. Yet, as a Protestant, Anglo-Irish woman writer living in England, Bowen was in many ways an odd presence in The Bell, which squarely focused on Irish life and Irish writing. While O'Faoláin's mission to present an inclusive view of Ireland may explain his publication of Bowen's autobiographical essays, her prominence as a fiction writer can better be accounted for through her achievements in the modern short story, the genre O'Faoláin sought to promote as a central Irish literary form in The Bell. Indeed, although Bowen's short stories have been classified as ‘modernist’ and O'Faoláin's as ‘realist’, their aesthetics of the short story are remarkably similar. Still, The Bell’s championing of Bowen's short fiction as a model to follow was undermined by its framing of Bowen as an ‘aristocratic’ writer whose literary snapshots of Irish life had a peculiarly dated and blinkered quality.

scholarly journals ‘In the distance a light?’ – Contemporary Spanish Civil War Writing in New Zealand

2011 ◽  
Author(s):  
Mark Derby
Keyword(s):  
New Zealand ◽  
Civil War ◽  
Spanish Civil War

Research into Contemporary Spanish Civil War Writing in New Zealand.

scholarly journals The History of the Short Story in New Zealand

2021 ◽  
Author(s):  
◽  
Lydia Joyce Wevers
Keyword(s):  
Nineteenth Century ◽  
Short Stories ◽  
New Zealand ◽  
Cultural Identity ◽  
Short Story ◽  
Collective Identity ◽  
Short Fiction ◽  
Oral Narratives ◽  
History Of ◽  
Postcolonial Discourse

<p>The thesis will be an investigation of the history of the short story in New Zealand, attempting to shift the focus away from a (implicitly hierarchical) sequence of writers who specialised in short stories to a consideration of the ascendancy of type in short fiction at certain times (for example the domination of nineteenth century short fiction by oral narratives and romance); the preoccupations of groups of writers who share a collective identity (especially Maori and women); and the recurrence of some kinds of narratives (for example Pakeha writers writing about the Maori). I propose to explore both the construction of 'reality' and 'New Zealand' in the short story, demonstrating how race, gender, and sometimes class/wealth figure in that construction, and generally suggest that the short story's dominance in New zealand's fiction makes it both a significant medium for cultural identity, and a context for a postcolonial discourse characterized by recurring questions about origin and subjectivity.</p>

scholarly journals J.C.Sturm: Before the Silence: An Exploration of Her Early Writing

2021 ◽  
Author(s):  
◽  
Margaret Michael
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Literary History ◽  
Second World War ◽  
Woman Writer ◽  
Literary Canon ◽  
Literary Context ◽  
Main Tendency ◽  
Second World

<p>This thesis considers the early works of J. C. Sturm, her own thesis, her short stories, articles and book reviews written in the 1950s before her writing and publishing silence. It examines where this writing places her in context of the post-Second World War period and where it could have placed her in the New Zealand literary canon had it not been for her ensuing literary silence.  The first chapter briefly discusses the nature of literary silences and then introduces Sturm with some biographical information. It details the approach that I take writing the thesis using three readings of her works: as social informer; as woman writer; and as Maori writer. These readings inform my commentary on her work and attempt to place her in the literary canon of the fifties. I discuss my reservations, as a Pakeha, in approaching Sturm as a Maori writer.  I use Sturm’s own comments “that many literary works can be taken as social documents and many authors can be taken as social informers” as a licence to use Sturm herself as “social informer”. It can be demonstrated how the ideas she promulgates in her thesis, New Zealand Character as Exemplified in Three New Zealand Novelists are developed in her short stories, articles and book reviews and in how Sturm holds her mirror up to New Zealand society.  Reading Sturm as a "woman” writer demonstrates how, through her short stories, she destroyed the “idyll of suburban domesticity”. Terry Sturm wrote of women’s writing of the 1970s that “its main tendency is to challenge male accounts of New Zealand society and culture”. Twenty years before this date I show that J. C. Sturm was writing that woman’s account and challenging the male expectations of a woman’s place in the home and society.  Using Sturm’s description that being a Maori writer is “a way of feeling”, her short stories and articles published in Te Ao Hou enable a discussion of Maori writing in the fifties, exploring both the writing context and the critical environment in which this writing was received. The hindsight provided by this exploration some fifty to sixty years on demonstrates the forgetting and misremembering that can happen in a literary context and the effect that forgetting can have on a Maori literary history.  In the final section I reconstruct the somewhat artificially deconstructed strands that have made up the previous chapters, bringing Sturm’s works together as a whole to enable a discussion on Sturm’s rightful place in the New Zealand’s literary canon of the fifties, as well as exploring further the natures of Sturm’s silence in order to bring some remembering into the long forgetting of Sturm’s early work.</p>

scholarly journals Between two worlds: a study of migrant writers in New Zealand

2021 ◽  
Author(s):  
◽  
Schwass Margot
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Short Story ◽  
Full Account ◽  
Migrant Literature ◽  
Secondary Material ◽  
Unpublished Work ◽  
Migrant Writing

<p>This thesis begins with a consideration of what constitutes migrant writing, and points to the difficulties in arriving at an absolute definition. Some justification is given for the fact that the ensuing discussion concerns short stories alone, and some of the particular qualities of the short story which make it an appropriate form for migrant literature are examined. The first chapter also makes a brief survey of the context for migrant writing within New Zealand literature, and compares the work of several short story writers, migrant and non-migrant. The work of two New Zealand migrant short story writers is discussed closely in the chapters that follow: Amelia Batistich's stories are examined in Chapter Two, and Yvonne du Fresne's in Chapter Three. In each discussion, formal qualities are given equal attention as matters of content and theme. The final chapter attempts to draw connections between the work of these two writers and the problems of definition raised in the first chapter. Consideration is also given to the attitudes and expectations of readers of migrant fiction. The appendices to the thesis contain biographies of Amelia Batistich and Yvonne du Fresne, and transcripts of conversations with them. The conversations were recorded in 1984, and have been lightly edited. A bibliography is included which provides a selective guide to the two authors published and unpublished work, and a full account of all secondary material consulted.</p>

scholarly journals Sylvia Townsend Warner’s Spanish Civil War Love Poems, with an Introduction by Mercedes Aguirre

2020 ◽  
Author(s):  
Sylvia Townsend Warner ◽  
Mercedes Aguirre
Keyword(s):  
Civil War ◽  
Short Story ◽  
Spanish Civil War ◽  
New Yorker ◽  
The New Yorker

A short story published first in the New Yorker as ‘The Shirt in Mexico’ on 4 January 1941, and later as ‘My Shirt Is in Mexico’ in A Garland of Straw (1943).

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