Gabrielle Carey is a writer and author of nine books. She has a Master of Arts (English) and a Doctorate of Creative Arts (Writing). Carey’s areas of research are James Joyce, Randolph Stow,Ivan Southall, Elizabeth von Arnim, the personal essay, the emerging genre of bibliomemoir and the reader-writer relationship. Her book Moving Among Strangers: Randolph Stow and my family, (UQP, 2013) was the co-winner of the 2014 Prime Minister's Literary Awards. In 2017 she was the recipient of the National Library of Australia Fellowship for Research in Australian Literature. Her most recent book Falling Out of Love with Ivan Southall (2018) is published by Australian Scholarly Publishing.
Can supervise: YES
Literary biography of Australian children's author Ivan Southall based on his correspondence with readers. An investigation into the reader-writer relationship.
Carey, G. 2013, 'Randolph Stow: An Ambivalent Australian', Kill Your Darlings, vol. Jan, no. 12, pp. 27-37.
Carey, G. 2012, 'Pigshoguery: the new kind of holy Ireland', Australian Author, vol. 4, no. 4, pp. 26-26.
An aspect of Randolph Stow's work that has attracted little
attention is his gift for comedy and satire. Throughout his
life Stow used satire as a way making fun of pretension, as a defence
against what he perceived as insidious influences and individuals,
and also as a playful celebration of being Australian.
The earliest evidence of Stow's instinct for satire was a story
published in the Guildford Grammar High School student magazine,
Swan, in 1952, Stow's final year at the school. In it, Stow parodies
the school's headmaster. The Head, as he was known, was allegedly
unpopular among both students and staff, particularly for his habit
of surveillance, which took the form of skulking about corridors
eavesdropping or suddenly surprising students from darkened
My study, says my partner, has transformed into a shrine to Randolph Stow. On one wall there is a photo of Stow as a stunningly handsome, James Dean-like, young man. He is looking quizzical as he gazes at the Western Australian landscape around him and appears to be wondering, as he did in so many of his books, how to make sense of his familiar, yet profoundly alien surroundings. Immediately it brings to mind-at least, brings to my mind-the first line of Tourmaline. 'I say we have a bitter heritage, but that is not to run it down.'
Aylward, DK & Carey, G 2009, 'High-value niche production: what Australian wineries might learn from a Bordeaux first growth', International Journal of Technology, Policy and Ma..., vol. 9, no. 4, pp. 342-357.View/Download from: UTS OPUS or Publisher's site
High-value niche production is reserved for the market's peak pricepoints. At these levels, rules of supply and demand change configuration. Manufacturers no longer compete on price, but instead are gauged against quality, uniqueness, reliability and prestige. As a result, their products are largely immune to economic fluctuations and offer alternative, often lucrative strategies for individuals and industry sectors as a whole. A sector in which the financial/cultural contrast between niche and mass production techniques is stark is the global wine industry. This paper examines the contrast by focusing on the Australian wine industry as a mass producer. The authors explore the current economic malaise of the industry and highlight associations between deteriorating product value and organisational structures. They then draw upon examples from one of the worlds iconic wine producers - Chateau Haut-Brion - to provide tangible and symbolic templates of successful niche production. The outcomes are recommendations for reform among Australian wine producers and their governing organisations.
ALL MY LIFE I HAVE PUT my faith in books and literature and writing but of late I have begun to wonder whether novels and poetry, with their webs of literary illusions, have actually conspired to ruin me. My psychic dependence on books only became dear when I had a dream about being swept up in a cyclone and the only solid thing I could find to hold on to was a bookshelf Needless to say, it wasn't weighty enough to keep my feet on the ground.
It feels as if all those years, and all those books, both written and read, have been leading to this moment; a moment where I sit in judgement of myself and my vocation. Something like a Carmelite nun, who, after fifty years, looks down at her worn hands and her worn habit, and suddenly and irrevocably loses faith.
In order to understand how I got here I need to go back to the beginning, to the books that formed me. The book I blame for setting me on the path to becoming a writer is Ivan Southall's To the Wild Sky, a story of children who are travelling in a light plane when the pilot has a heart attack and dies, leaving his young passengers utterly alone, mid-air.
When the actor, director and writer Rachel Ward was leaving England for Australia, a friend handed her two books. If you want to understand the country you're going to, he said, these are your essential texts. One of them was The Timeless Land, by Eleanor Dark. The other was Tourmaline, by Randolph Stow.
There is something quintessentially Australian about Tourmaline. The outback town could be any outback town, the pub any rural pub at the end of 'the raw red streak of the road'. The landscape of dust and flies is instantly recognisable. But what is this book about a stranger who comes to a once-prosperous mining town now stricken by drought, promising to bring water? Is it fable or allegory, a Western, or a philosophical examination of the differences between Christianity and Taoism?
Tourmaline was published in England in 1963 and subsequently greeted with bewilderment in Australia. Dame Leonie Kramer dismissed it as 'The Waste Land with a few more bar scenes'. Anthony J. Hassall calls it Stow's least understood book. It is the most overtly modernist of his eight novels, and the author's favourite, perhaps because it combined his talents as poet and prose writer. Indeed, the first few lines could easily be reformatted into poetry:
EVEN THIRTY YEARS AFTER THE PUBLICATION OF
Puberty Blues, it's a question that I am still regularly asked. Mostly out
of curiosity but occasionally out of suspicion. 'How did you write a
I talk about composing each sentence collaboratively, sharing ideas
about what would come next and how it would be phrased, as well as
editing as we wrote. It's a diffi cult concept for people to grasp because
writing is usually a solitary act, possibly even an intimate one – just
like reading. Intimate because the reader, often in bed at night, engages
with the author precisely in order to be aroused – by feelings of excitement,
stimulation, sadness, terror and wonder. So what happens when
this intimate act, involving one person, becomes a group act, involving
several? Is it like progressing from quiet coupling to group sex?
Carey, G & Lonnquist, B 2012, 'Working with Clay' in Vicki Mahaffey (ed), Collaborative Dubliners: Joyce in Dialogue (Irish Studies), Syracuse University Press, Syracuse, NY, pp. 210-237.View/Download from: UTS OPUS
Carey, G 1997, 'What About Us Grrls?' in Hot Sand, Penguin.
Carey, G 1996, 'Prenatal Depression, Postmodern World' in Motherlove, Random House.
Carey, G 1987, 'Interview with a Gravedigger' in The Penguin Book of Death, Penguin.
Carey, G 1987, 'A Death-Denying Circus' in The Penguin Book of Death, Penguin.
Carey, G. 2005, 'Writer as Celebrity', College of Arts, Education and Social Sciences Inaugural Research Conference: Scholarship and Community, College of Arts, Education and Social Sciences Inaugural Research Conference: Scholarship and Community, University of Western Sydney, University of Western Sydney, pp. 1-6.View/Download from: UTS OPUS
This paper looks at the phenomenon of celebrity and how it has affected publishing and the literary culture of Australia.
Carey, G 2017, 'John Clarke: A Postscript', Sydney Review of Books, Western Sydney University.
Biographical essay about Australian writer and satirist John Clarke with particular examination of the influence of Irish writers on Clarke's prolific creative output.
Carey, G. 2010, ''I'/ 'A Pile of Quashed Quotatoes'/ ''My mother and Mick', The Australian, The Australian Literary Review, Australia.
Background The essay is a form of literature that has a strong history in England and the United States but the form is not so strong in Australia. The popular understanding of an essay is a style and form that is overly academic, abstract and often dry. The personal essay, however, has a very different nature to that of the traditional or conventional essay. It is subjective, intimate and reflective - rejecting the notion that objectivity, the primary aim of the conventional essay, is possible. Contribution So Many Selves develops the personal essay form in a contemporary, Australian context. This kind of collection - three long personal essays by a single author had not been published in Australia previously. The theme of the collection that of constantly evolving and multiple identities (many selves) - addresses contemporary philosophical questions about the nature of the self in the 21st century. Significance So Many Selves is an original contribution to creative writing, written in a form that is only just emerging onto the literary horizon in Australia. It provides practitioners with a model to use when studying the personal essay genre. Its importance is recognized by Yale University, where acclaimed author Professor Caryl Phillips uses So Many Selves as an example of excellence in the study of the personal essay.
Carey, G 1997, 'The Penguin Book of Death', Penguin.
Carey, G 1994, 'The Borrowed Girl', Pan Macmillan.
Carey, G & Lette, K 1979, 'Puberty Blues'.
Carey, G., 'Bloomsday'.
Carey, G., 'Stolen Vehicle', Car Lovers, ABC Books, Sydney.
short story in anthology -published under pseudonym Francesca McGovern