Bridget Haylock and Suzanne Hermanoczki
Writing trauma: Traumascopes
Indigenous and Australian Literature and Trauma
Meera Atkinson
Australia is a crime scene: Natalie Harkin’s intervention on national numbness and the national ideal
Kate Leah Rendell
Aboriginal testimony, trauma and fiction: transcribing massacre in Randolph Stow’s To the Islands
Pedagogy
Donna Lee Brien
‘First the misery, then the trauma’: the Australian trauma memoir
Carolyn Rickett and Sue Joseph
Beyond this point here be dragons: consideration and caution for supervising HDR writing trauma projects
Penni Russon
Beyond Trigger Warnings: working towards a strengths-based, trauma-informed model of resilience in the university creative writing workshop
The Autobiographical Post-Traumatic Body, Performing Trauma and the Visual Affect
Angela J Williams
Autobiographical research in a post-traumatic body: a retrospective risk analysis
Elizabeth MacFarlane and Leonie Brialey
The Body is Just a Metaphor for the Soul: Performing trauma in the work of Leela Corman and Tom Hart
Michael Richardson
Resonances of the Negative: Traumatic Affect and Empty Spaces of Writing
Testimonial Literature, Post Memorial, and Second and Third Generation Trauma
Maria Tumarkin
The Alexeivich Method
Suzanne Hermanoczki
Remembering and Rewriting the Familial Traumascape in Alice Pung’s memoir Her Father’s Daughter
Antonia Strakosch
Into the unknown: Daniel Mendelsohn’s The Lost and the writing of third-generation Holocaust literature
Sarah Dowling
The human hole: Problematic representations of trauma in Jonathan Safran Foer’s Everything is Illuminated and Extremely Loud and Incredibly Close
Performing Trauma
Bridget Haylock
Emerging from Entrapment: Sue Woolfe’s modern Gothic Painted Woman
Danielle Schaub
‘a separate world, a small and enclosed universe’: Phobic de/construction of space in Joan Barfoot’s Dancing in the Dark to circumscribe trauma
Prose
Laura Kenny
The 45th Parallel
Review
Bridget Haylock
Writing Trauma and Testimony: literary critique and manifesto