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Articles by Bonny Cassidy
Ned Kelly’s descendants claim cultural heritage rights over the site of his last stand
By Bonny Cassidy - Aug 02, 2023 11:46 am AEST The Victorian Supreme Court has determined the descendants of Ned Kelly’s family are not a distinctive cultural group with the right to protections of their “intangible cultural heritage”. The Kelly clan’s bid for recognition was provoked by a proposed tourist development at Glenrowan, the site of the outlaw’s last stand in 1880. The new centre will look at the story of the Kelly gang in the context of Glenrowan’s broader history.
Ned Kelly's descendants claim cultural heritage rights over the site of his last stand. The Supreme Court disagrees
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Ned Kelly's descendants claim cultural heritage rights over the site of his last stand. The Supreme Court disagrees
The Victorian Supreme Court has determined the descendants of Ned Kelly’s family are not a distinctive cultural group with the right to protections of their “intangible cultural heritage”. The Kelly clan’s bid for recognition was provoked by a proposed tourist development at Glenrowan, the site of the outlaw’s last stand in 1880. The new centre will look at the story of the Kelly gang in the context of Glenrowan’s broader history.
Ned Kelly's descendants claim cultural heritage rights over the site of his last stand. The Supreme Court disagrees
The Victorian Supreme Court has determined[1] the descendants of Ned Kelly’s family are not a distinctive cultural group with the right to protections of their “intangible cultural heritage[2]”. The Kelly clan’s bid for recognition was provoked by a proposed tourist development[3] at Glenrowan, the site of the outlaw’s last stand in 1880. The new centre will look at the story of the Kelly gang in the context of Glenrowan’s broader history.
Ned Kelly's descendants claim cultural heritage rights over the site of his last stand. The Supreme Court disagrees
A 6 meter tall Ned Kelly stands on the main street of Glenrowan, Victoria. Shutterstock The Kelly clan’s bid for recognition was provoked by a proposed tourist development at Glenrowan, the site of the outlaw’s last stand in 1880. The new centre will look at the story of the Kelly gang in the context of Glenrowan’s broader history. Kelly’s grand-niece, Joanne Griffiths, argues the new structure and landscaping will “disrespect” her family’s “human rights” as cultural “custodians”.
September 2023
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in The Book of Falling, David McCooey offers a series of psychological snapshots
On a recent award-judging panel, I found myself once again in a conversation about what makes a book of poems “cohesive” – that is, what makes it a book-length experience, as distinct from a single-poem dip, a chapbook dive or, indeed, the narrative journey of a novel. The panel’s consensus was that it is not necessarily theme that holds a collection between two covers. It can be structural features, such as symmetries or contrasts. It can be a dramatic terrain of action and voice.
Photo poems and bathroom abstractions: in The Book of Falling, David McCooey offers a series of psychological snapshots
On a recent award-judging panel, I found myself once again in a conversation about what makes a book of poems “cohesive” – that is, what makes it a book-length experience, as distinct from a single-poem dip, a chapbook dive or, indeed, the narrative journey of a novel. The panel’s consensus was that it is not necessarily theme that holds a collection between two covers. It can be structural features, such as symmetries or contrasts. It can be a dramatic terrain of action and voice.
Photo poems and bathroom abstractions: in The Book of Falling, David McCooey offers a series of psychological snapshots Original
On a recent award-judging panel, I found myself once again in a conversation about what makes a book of poems “cohesive” – that is, what makes it a book-length experience, as distinct from a single-poem dip, a chapbook dive or, indeed, the narrative journey of a novel. The panel’s consensus was that it is not necessarily theme that holds a collection between two covers. It can be structural features, such as symmetries or contrasts. It can be a dramatic terrain of action and voice.
in The Book of Falling, David McCooey offers a series of psychological snapshots
Wed May 3 Written by Bonny Cassidy, Senior Lecturer in Creative Writing, RMIT University On a recent award-judging panel, I found myself once again in a conversation about what makes a book of poems “cohesive” – that is, what makes it a book-length experience, as distinct from a single-poem dip, a chapbook dive or, indeed, the narrative journey of a novel. The panel’s consensus was that it is not necessarily theme that holds a collection between two covers.
In Bon and Lesley, Shaun Prescott has written an Australian horror story of uniquely local proportions
If ever a novel set out the territory that its author would continue to travel, Shaun Prescott’s debut The Town (2018) did just that. It was like the indie boy band that smooths all your favourite punk acts into a one-stop melange. When I reviewed The Town in these pages in 2019, I noted in particular how Prescott was able to synthesise elements from the late David Ireland and Gerald Murnane to create an augmented Australian realism.
In Bon and Lesley, Shaun Prescott has written an Australian horror story of uniquely local proportions
If ever a novel set out the territory that its author would continue to travel, Shaun Prescott’s debut The Town (2018) did just that. It was like the indie boy band that smooths all your favourite punk acts into a one-stop melange. When I reviewed The Town in these pages in 2019, I noted in particular how Prescott was able to synthesise elements from the late David Ireland and Gerald Murnane to create an augmented Australian realism.
Forthcoming | Giramondo Publishing
In 2023, Giramondo will also be publishing fiction by Max Easton; non-fiction by Bonny Cassidy; and poetry by Kate Middleton. For publicity enquiries relating to Giramondo’s publishing schedule, please contact publicity@giramondopublishing.com.
Woke to the past, Shaun Prescott’s The Town moves beyond colonialism and then its protagonist
Why do we tell stories, and how are they crafted? In this series, we unpick the work of the writer on both page and screen. From Patrick White’s Voss to Tim Winton’s Breath, white, male Australian novelists have reproduced the hero character through sexualised conquests of other bodies and spaces. To limited levels of success, debut novelist Shaun Prescott explores alternatives to this tradition in The Town.
Stanza and deliver - the filmic poetry of Mad Max: Fury Road
Given its layered mise en scène and performative script, George Miller’s Mad Max: Fury Road deserves to be read as a stirring and provocative poem. Academic Bill R Scalia writes in Toward a Semiotic of Poetry and Film (2012), that some film images: He later contends that: And so, to Fury Road … For those who have yet to see it, the film begins some years after civilisation’s collapse. Survivors of the apocalypse are enslaved inside a desert fortress by a tyrant, Immortan Joe (Hugh Keays-Byrne).
'Mostly water', a new poem by Bonny Cassidy
In winter the garden like the back of our mind a faint young sun. By dawn the house has forgotten much of it. ___ Last night I caught you reading strands from the plughole pointing to the shrunken stranger crackling in the tumble-dry. I thought of my grandmother pointing proudly over her daughter’s shoulder to the photograph of her daughter. ___ The rain rises fast. I’m wondering what my young girl’s doing now, and what if she were faintly real. I’ve made you aware you’ll never know.
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