Beeston’s memoir is doing the hard work so desperately needed in our society. Ultimately, it is heartbreakingly beautiful, offering valuable insights into how Australian mothers are struggling under a system that is failing them.
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Throughout the novel, we track Lillian’s involvement in feminist causes along with her passion to reclaim the true story of Henry Lawson’s ‘The Drover’s Wife.’
Whether the Uhrs has a desire for bloodlust or just thought this was an important job in the colony does not change the murders but points to something more sinister, that you did not need to be evil to opt into a system of genocide, you just had to take a job.
“In London, there’s been profound changes to the law as a consequence of Prima Facie. Having been a lawyer, I never thought I’d have that effect from writing a play, but it’s been the other way around.”
Tracing the lives of a brother and sister, the plot of Tidelines has a clear destination, with every incident pointing us in that direction.
If bookstores are at the forefront of shaping a literary culture, why is it that Australia’s strong community of indie bookstores yields such a fragmented literary identity?
The toxic tropes of masculinity and abuse of women in her books should revoke Sarah J. Maas’ entitlement to market herself and her novels as feminist.
Beatrice, one of the protagonists, tries to resist this novelisation, embodying the revolutionary who lives, eats, and breathes in political ideals; a figure that belongs not in a novel, but in a history textbook.
Maybe I am a mess. Maybe neither I nor Bridget are messes. Maybe you aren’t a mess. Perhaps, we are all just trying our best, and maybe just maybe that is good enough.
Kuang is very aware of her radical purpose: “I am a Western author writing to a Western audience in a Western literary tradition.”
