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Lädt ... Collisions: Fictions of the Future:an Anthology of Australian Writers Ofcolour
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Fiction.
Literature.
Short Stories.
EXPERIMENTAL, GENRE-BENDING, LUCID STORIES OF THE FUTURE FROM THE INAUGURAL LIMINAL FICTION PRIZE LONGLIST What does the future hold? A tense dinner party is held amid an impending climate catastrophe. A father leases his backyard out to a cemetery. Activists plan an attack on ASIO drones in a shock-jock run government. A voyeur finds herself caught in time. Featuring both emerging and established writers of colour, this collection showcases some of the best work that Australian literature has to offer. These stories are sites for collisions: against eurocentric ideals, against narrow concepts of excellence, against stagnant ideas of the world to come. But collisions also manifest in the way our lives come into contact with others, how our pasts shift against the present, and how our imaginations sit against our realities. Collisions is necessary reading for the future of fiction, and the future of our shared world. STORIES BY BRYANT APOLONIO, KASUMI BORCZYK, CLAIRE CAO, CLAIRE G. COLEMAN, ELIZABETH FLUX, JASON GRAY, EDA GÃ?NAYDIN, NAIMA IBRAHIM, CB MAKO, SUMUDU SAMARAWICKRAMA, MYKAELA SAUNDERS, BOBUQ SAYED, VICTOR CHRISNAA SENTHINATHAN, MISBAH WOLF, HANNAH WU, JESSICA ZHAN MEI Y Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)829.308Literature English Old English literature, ca. 450-1100 BeowulfBewertungDurchschnitt:
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All of the editors get to have a say in the introductions. The main introduction, by McIntosh, is beautifully done. It gives a strong sense of the reasons for the anthology, as well as anchoring it in place and time with respect to the Australian literary scene. The others are both concise and interesting.
The anthology is grouped into three sections: Bodies, Momentum, and Contact. I didn't read it with these in mind, and have not really engaged with the groupings, so have ignored that in the notes below. Sadly, I appear to have lost the notes on the later two sections, so my comments on the earlier stories are more comprehensive.
The opening story, See You Tomorrow (Claire Cao) is an atmospheric story about the passing of time that weaves together the lives of two friends over the course of a lunch date. So many details that I loved, including the evocation of the changes in the local landscape, the possibilities of romance for older women, and the way I could nearly smell the food.
Bad Weather (Bryant Apolonio) also weaves together two stories, but uses a literary conceit-- presenting much of the stories concurrently down separate columns-- to highlight this. This was initially confusing but ultimately really powerful. Prose poetry is not something I really get, so I struggled.
Öz (Eda Günaydin*) is a tiny, slice-of-life but very bogan queer romance.
Auburn Heights (Naima Ibrahim) is a painful story of colonisation, although because it is set at the suburb level it has been given the euphemism "gentrification".
The Voyeur (Elizabeth Flux) is very creepy - our protagonist can visit the past of their ancestors, and loses themself in the process.
Suburban Graveyard (Victor Chrisnaa Sentinanthan) is another disturbing and creepy story, this time about the consequences of converting ones backyard to a graveyard.
Terranora (Mykaela Saunders) is an Indigenous viewpoint post-apocalyptic Australia. There are so many ideas packed in to this story, about family and community and country, survival, recovery, the inter-connectedness that is needed for survival.
The Revolution Will Be Pirated (Bobuq Sayed) focuses on an antifacist group attempting to avoid the police and white supremacists in order to disrupt a fascist march though an immigrant neighbourhood.
The final piece is Wish You Were (Claire Coleman), which is a chilling story of an unexpected life after death.
* Apologies to the author for the incorrect spelling, I can't work out how to get the correct characters out of my computer. ( )