Moya Costello

Innovative or experimental writing

Moya Costello — Sun, 22 Jan 2012 17:42:39 PST

Bringing the water: new writing from South Australia

Moya Costello et al. — Mon, 09 Jan 2012 17:04:57 PST

Anthology of 35 short stories arising from monthly prose meetings held by the South Australian Writers' Centre. Includes notes on the contributors.

Raise your glass (wine review column)

Moya Costello — Mon, 08 Aug 2011 20:39:18 PDT

Ashley Taylor Studio 1983

Moya Costello — Wed, 25 May 2011 23:37:58 PDT

Women, craft and protest: yesterday and today

Denise N. Rall et al. — Wed, 20 Apr 2011 18:56:14 PDT

Cor/respondence, Melanie Vanaria Jamieson: Trash and Treasure, Lismore Regional Gallery, Lismore, NSW, 4 September - 2 October 2010

Moya Costello — Mon, 07 Feb 2011 22:19:26 PST

She comes from text (Exhibition)

Moya Costello — Mon, 07 Feb 2011 22:19:25 PST

A ‘ruined or fractured’ sublime: voice, identity and agency in reading and writing the gothic/noir in subtropical regional Australia

Tessa Chudy et al. — Mon, 07 Feb 2011 21:30:16 PST

In the excess of subtropical regional Australia, the emergence of the gothic is twofold. One is subjective and affects a lament through the articulation of a gothic voice, and the other is specific to an uncanny relationship with place. The gothic represents the indeterminacy caused by unresolved loss, commonly known as a state of mourning. Jacques Derrida (2001) describes mourning as ‘that of an interiorization (an idealized incorporation, introspection, consumption) of the other [who] ... having passed away, leaves in us only images’ (159). Noir, like the gothic, has a strong sense of predetermination, a blurring of the line between past, present and future, and of unease and dislocation. This collaborative paper uses our fictional works to make an intervention into Australian subtropical regional gothic at a time of global risk and uncertainty. In the expression of both excess and containment, and the familial, romantic and traumatic, the language, or voice, of our fiction writing is informed by our critical reading of allied texts. The trauma that loss evokes is embedded in gothic/noir narratives such as Rosa Campbell Praed’s (1891/2007) ‘The bunyip’ and Peter Temple’s (2005) The broken shore. Particularly in Australian gothic fiction, it is not only the concrete images of human settlement that are haunted but the landscape itself projects this ‘hauntedness’. Climate change and environmental degradation, like the haunted house and the monstrous, act as gothic tropes. Nature is written as strange. Turcotte (1998) says that the gothic appeals because of its ability to articulate tensions and problems, noting that the ‘local variant’ of the gothic is mixed with the romantic, and that as a mode the gothic is ‘at its most exciting when least obeyed’ (12, 17, 19). So the gothic recognises a specific, and problematic, cultural and historical context where there is a struggle between the excesses of the ‘landscape’ and the containment of ‘settlement’.

Why study writing at uni?

Moya Costello — Sun, 16 Jan 2011 17:44:13 PST

Writer and lecturer at Southern Cross University, Moya Costello tells why many new writers are taking this path.

'The drink has called it into being': a year in a wine column

Moya Costello — Tue, 26 Oct 2010 20:00:47 PDT

For a year, between 2009 and 2010, I wrote a wine-review column in a free regional newspaper as a passionate amateur. I conceive of the wine reviews as creative nonfiction and of myself as a role model for my students who have the option of writing on food. Genre has its courtiers and jesters and, in itself, it is bound for change as any other cultural phenomena. I think of my wine-writing practice as destablising that specific genre, attempting a transformation of it into an expanded field, via the efficacy of writing and wine as art. It is contentious to place winemaking in the realm of art. What I want to do is commend art, which includes creative writing and winemaking, for its efficacious capacity. This is also a contentious proposition. I think of my wine writing as public intellectual practice, linking wine as art to culture, politics and history, when, on the whole, wine columns stick solely to descriptions of the wine. Wine writing is about technical details, but it is also about what wine—its appearance (bottle label and wine colour), aroma and taste—sets the dreaming, remembering mind doing, and what links emerge to contemporary issues in the practice of the everyday.

At home in text on the coast

Moya Costello — Tue, 16 Feb 2010 21:25:32 PST

Re-placement : a national anthology of creative writing from universities across Australia

Janie Conway-Herron et al. — Wed, 04 Nov 2009 17:03:55 PST

"Re-Placement is an anthology from writers enrolled in creative writing courses at universities across Australia. It is the fourth such anthology of work from members of the Australian Association of Writing Programs and the first to be hosted by Southern Cross University. Writing is an act of replacement where the writer's words recreate worlds of the imagination, re-presenting the world back to the reader. Tough, edgy, contemplative and humorous, Re-Placement moves writing out of the ivory tower and into new terrain."--Provided by publisher.

Reviving the corpus of Australian literature [review of Macquarie Pen Anthology of Australian Literature]

Moya Costello — Thu, 20 Aug 2009 22:42:37 PDT

Of lemon tarts: writing, culture, neoconservatism

Moya Costello — Thu, 14 May 2009 21:36:45 PDT

In the world under a soft cover

Moya Costello — Mon, 30 Mar 2009 14:18:46 PDT

Simon Robb: the Hulk

Moya Costello — Thu, 26 Mar 2009 20:40:24 PDT

She comes from text

Moya Costello et al. — Thu, 26 Mar 2009 17:10:13 PDT

Kites in Jakarta

Moya Costello — Thu, 19 Mar 2009 14:49:26 PDT

Twenty accessories you can't live without

Moya Costello — Thu, 19 Mar 2009 14:49:25 PDT

Your studio, your home ground

Moya Costello — Thu, 19 Mar 2009 14:49:24 PDT