Juncture

Shapes of Native Nonfiction brings together and solidifies a genealogy of what First Nations creative nonfiction could be through documenting a gathering of lyric essays that push and expand the boundaries of nonfiction beyond the auto/biographical and/or the academic. In doing this, Shapes of Native Nonfiction invites and gives shape to an approach to First Nations nonfiction that demonstrates moving beyond ethnographic and academic methods; one that experiments with form and embarks on carefully crafting and re-crafting interventions that both challenge and expand existing genre structures.

Salesses asks what forms of fiction writing, and hence ways of being in the world, are marginalised in conventional understandings of craft? Conversely, how do different ways of being in the world – that is, not being part of the culturally dominant population – express themselves in a writer’s craft?

In Jennifer Mills’ The Airways, we travel through a series of bodies. The we here is us, the readers, but we share this journey with something else too – a ghost, a consciousness, something that speaks and thinks and feels but isn’t necessarily a body. It is something that will call into question the way we think about bodies.

Sometimes she is a well-ordered educator: to tell you B, I must first tell you A. Sometimes she is like a friend telling tall tales at the pub, three pints in. Sometimes she is a preacher. Sometimes she is a contextualist, filling in history’s gaps.

Small Joys of Real Life is a quintessentially Melbourne book, with Richards’ characters not straying far from the city and the inner-north postcodes: from share houses to public swimming pools, pubs to bars.

I closed the pages of Briohny Doyle’s Echolalia with a sigh of satisfaction at its beautiful construction and timeliness. The…

Her vision and writing of the female experience is curious and expansive, conveyed as it is through these short fictions that take in the messiness of life and arbitrariness of death.

‘A testament to love and joy in the face of ongoing dispossession, continued violence and lack of recognition of the rights of First Nations peoples in Canada and abroad.’

Bonny Cassidy’s Chatelaine is a gift to a reviewer that doesn’t want to paraphrase poems, for a reader that doesn’t need such summarising.

The Three Burials of Lotty Kneen chronicles Kneen’s attempts to locate her grandmother’s story and to find how, without the person who made her, she fits into the world.