Excited to soon receive copy of new Routledge book...

My book chapter ‘Science, wonder, and new nature writing: Rachel Carson’ will appear in the Routledge Handbook of Ecocriticism and Environmental Communication in March 2019. The volume is edited by Scott Slovic, Swarnalatha Rangarajan and Vidya Sarveswaran who have been wonderful to work with. Many thanks to them for including my work in this exciting new collection…

The Science of Writing

This week Lucy Neave and I spoke about 'The Science of Writing' at the Woden Library. Thanks to a great audience for thoughtful questions, comments and responses. 

OUTLINE OF THE EVENT

Why do writers feel the need to write? What does science say about creativity? To what extent is writing a discovery process for authors? Join Lucy Neave and Saskia Beudel as they discuss these questions, and explore the art and science of writing creatively, The talk will be followed by a discussion with the audience.

Lucy Neave is the author of Who We Were, a novel published by Text (Melbourne, 2013), which was shortlisted for the ACT Book of the Year Award in 2014. She has published in Best Australian Stories 2009 & 2014, and in Australian and American literary journalsHer scholarly essays are on fiction writing process, writers' practices and pedagogy. She is the recipient of an Australia Council for the Arts grant, a Varuna Second Book Fellowship and is a former Fulbright scholar. She teaches creative writing at Australian National University.

Saskia Beudel is the author of three books including A Country in Mind(UWAP 2013), Curating Sydney: Imagining the City’s Future(with Jill Bennett, UNSWP 2014) and Borrowed Eyes(Picador 2002). Her books have been shortlisted for the NSW Premier’s Literary Awards, the Kibble-Dobbie Award and the Adelaide Festival Awards for Literature. Her essays appear in Best Australian EssaysThe Conversationand a wide range of Australian and international literary journals. Her research interests encompass history of science, environmental writing, narrative nonfiction, life writing, and contemporary art. She teaches in the writing program at the University of Canberra.

Lucy Neave (left) and Saskia Beudel, Woden Library, 20 August 2018. Photographer: Barbara Holloway

Lucy Neave (left) and Saskia Beudel, Woden Library, 20 August 2018. Photographer: Barbara Holloway

Essay in The Conversation

Frog watching: charting climate change's impact in the here and now

For the past two years I have been volunteering for a citizen science project that monitors how frogs are dealing with a warming world. This essay explores the idea of climate change not as a remote event far into the future or at distant locations but right here at our own doorstep. It describes going out into the winter night, 13 year-old-daughter in tow, as a frog-watching volunteer. 

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Interview with scientist Pep Canadell

In 2017 I interviewed scientist Pep Canadell, Director of the Global Carbon Project. The GCP is a core project of Future Earth and is housed at the CSIRO in Canberra. Transcripts of the interview will be published in the forthcoming article 'Science and stories offering hope for the climate' in Weber Fall 2018

Environmental Writing symposium at the University of Melbourne

It was a pleasure to co-convene the Environmental Writing symposium at the University of Melbourne, 7 June 2018. Amanda Johnson and I were thrilled to bring together such a wonderful group of presenters – Alexis Wright in conversation about the Swan Book with Hayley Singer; Tom Griffiths talking about the unique qualities of early Australian 'nature writing'; Tom Doig on activism, irony and the Hazelwood mine fire disaster; Suzy Freeman-Greene on green turtles of Heron Island, once killed for turtle soup now a major tourist attraction; A. Frances Johnson discussing poetry that challenges the comforts of pastoral and elegiac forms; Mireille Juchau on solastalgia and countering cataclysmic narratives laden with ‘messages’; Laura Jean McKay on nonhuman animal resistance in fiction; Cameron Muir showing the disastrous effects of plastic debris on birds of Lord Howe Island; Hayley Singer riffing on ‘fleischgeist’ meaning ‘flesh ghost’ or ‘meat spirit’; Wendy Somerville (with Bethaney Turner) on meeting Country on the Cullunghutti mountain; Lara Stevens performing her ecofeminist ‘SpiderActs’; and me on citizen science, frogwatching, and charting climate change’s impact in the here and now. 

Full program details here

Review of Westerly Magazine 62.2

My review of Westerly Magazine 62.2 appears in TEXT. This Westerly issue contains two special features of Asian-Australian collaborative work – one from the Melbourne-Seoul Intercultural Poetry Exchange and one from the China-Australia Writing Centre.

Read the review

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Berghahn book to be released soon

Great to see Expeditionary Anthropology book now appears on Berghahn website. Edited by Martin Thomas and Amanda Harris. My article on Donald Thomson's mix of storytelling, biology and anthropology appears in this. 

The Opposite of Glamour

DELIA FALCONER

28 July 2017, Sydney Review of Books

A wonderful esssay by Delia Falconer. It also mentions my book  A Country in Mind ...

 

Excerpt: "It is a tiny consolation that Australia may be the best place for writing about uncertainty and loss. Our colonial history means that our literature is already less comfortable than its northern hemisphere counterparts and more tuned to damage and survival.  This is especially the case in writing about nature, which has never established itself as a stable commercial genre here but tends instead to emerge in feral form out of other genres, such as history and memoir. It almost always engages with the ongoing Indigenous knowledge of country. Books such as Bruce Pascoe’s galvanising Dark Emu, Kim Mahood’s Position Doubtful and Saskia Beudel’s walking memoir, A Country in Mind, are sceptical of any Romantic sense of boundless plenty and adept, in their different ways, at negotiating the rough terrain of broken country; none could be described as “nature writing” but each is tuned, as Beudel puts it beautifully, to the ‘off-key tone of colonised land’.  One of the great strengths of such recent Australian writing is that it is never just about the present, but works its way back into the past to make us think hard about what we think we already know; and it gives us a more complex set of tools to think about the future. "

Read entire article...