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== 1.	Retreat Agenda ==
Times are preliminary. Depending on availability of visitors, the order might need to change. Before the day Craig will collate and distribute this as a .pdf to make it more readable. The idea of having it here as a wiki is to allow for collaborative editing prior to that.
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ITEM ONE: Undergraduate Curriculum as cultural intervention (8am – 11am)
Sandra will lead us with a discussion of her involvement with indigenous writing and publishing, her publications, Australia Council for the Arts protocol guides, other topics and q&A. 
We will then have a round table discussion about the issues/problems/opportunities identified in the following document (section 2).
Sarah will then talk us through her review of our set readings for undergraduate units and provide her analysis.
Craig will then talk us through the results of his survey of undergraduate students and provide his analysis.
We will then talk about the suggestions for improvements made in the following document (section 3) together with any others that arise on the day, with the aim of having a set of actionable outcomes including detailed visions for them and persons responsible for implementing them.
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ITEM TWO: Technology in the classroom (11:15am – 1pm)
This will be a round table discussion where we will each one by one go through how we are using technology and blended learning in our units, and what our experiences of those technologies have been. An opportunity to share experiences and ask questions of each other. If you are wondering how technology might solve a problem you have, this is a good chance to ask questions of the group mind.
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ITEM THREE: Response to curriculum redesign (1:30pm - 3:30pm)
This will be a round table discussion about what our discipline’s response to the curriculum review presently underway might be. Craig will put more detail here of what the main points to cover here will be after meeting with Gavin and Greg. 
 
== 2.	Thoughts about our undergraduate curriculum ==
I have attempted to group these as best I can into a narrative of sorts, but many individual points raised don’t easily fit this, so please see this as being examples of topics we will discuss at the retreat. Please note that these are paraphrases and no individual statement should be taken to reflect any one specific individual’s viewpoint. This is more of an idea cloud of things we are a discipline are thinking about. Please do add to it, especially if I missed something important that you said, or if you’ve had further thoughts since. It would be great to see this list grow!
•	Our curriculum should not be inclusive because it has to be. It should be inclusive because it is great/interesting/delightful to be.
•	Most of our cohort are women. It is therefore clearly important to make female students feel like their work is important. A number of female students have mentioned to female staff that they do feel like the discipline is a boy’s club.
•	Many students come to be challenged.
•	The whole notion of the liberal arts tradition rests on provocation.
•	The cohort isn’t intrinsically resistant to provocation if they can see why they are doing it (writing Americas is a good example).
•	In many units we have a conservatism of teaching and delivery. The discipline in many cases perpetuates a conservatism by not stepping up to teaching innovations being offered. This means students are unused to doing things differently and by not having a more universal culture of innovation it becomes an alien experience to be exposed to innovative approaches. This may result in those educators who are being innovative being exposed to resistance that more conservative educators are not.
•	Overall, there is a lack of a unity of vision in our curriculum. At present we do not have a formalised shared goal of explicitly challenging the reading culture of our undergraduates, or shared agreements to do so.
•	The issue of privilege, and particularly unearned privilege, needs to be discussed and collectively and individually reflected on. This impacts teaching approaches and paradigms.
•	“It is important to select a multicultural book by looking at whether it will challenge the status quo of the more traditional canon, and thus further challenge the social structures embedded within schooling and creating a potential model for social justice” (Gates & Mark, 2006, p. 5).
•	Following from this, there is an idea of canonicity in our academic field that manifests in various ways. This notion of canonicity is problematic in that it privileges white male voices (and Anglo realism etc). The reasons for its existence are complex, including historical reasons, personal biases due to how we were taught ourselves, other personal or intrinsic biases, inherited and unexamined notions of what is ‘good / quality’ and so on. But, as currently deployed at QUT, it comes at the expense of presenting greater diversity of viewpoints and readings within our curriculum. 
•	There is a canonicity around the literary theories that are privileged within cultural studies also. 
•	There has long been a tradition of ‘god professors’ and a culture of masculinity in English departments.
•	Is changing this about letting go of notions of literary development? It can be argued what we see as the canon is one line of literary development among many. It seems that the presumptions about quality between lit studies and creative writing are the same. Where does the canon come from? Privileging certain voices. Perhaps there is a structural if not a personal loyalty to problematic notions of literary development that privilege one line of development over others.
•	We need to critique the canon inherited by our teachers. But how do we do that without losing the traditions we have?
•	How do we broaden the notions of literary citizenship?
•	An interesting question here is - how far are we from our students experience as readers? Genre might be one case in point in that a lot of our students are reading YA and so many of them want to write YA. The majority of our students are women – how far from what this audience is reading is what we ourselves are reading? Is this an issue?
•	There is perhaps a narrowness in how we define good writing. But when we abandon those notions of good writing – what then?
•	The onus is on us as educators to critique and perhaps change the inheritance. It is an undertaking of re-education which takes energy and time which we don’t always have.
•	One way of challenging canonicity is to be explicit about it, to speak to ways in which canons are designed to silence and oppress. Solution: unpack and make explicit what canonicity is. What makes this canonical? 
•	Canonicity also ties us to old media in problematic ways. We need to be incorporating a much larger amount of new media works, to stay relevant and to best equip our students. Old media is gendered in ways that new media is not. We suffer from having a closed curriculum that has too singular a perspective on writing. 
•	We need to consciously design for diversity as it maps to graduate capabilities..
•	Other ambient behaviours or modes of communication need to be looked for. Gendered communication (eg: “Hello my dear / m’lady”) is offensive and must be avoided.
•	There is a special responsibility on the male academics to model good behaviour for the cohort.
•	At present we have nothing like a feminist writers’ week. Or an Indigenous writers’ week. Or a queer writers’ week. We have no lecture within the creative writing curriculum (as opposed to Lit Studies) on Feminism.
•	Differently abled voices, working class voices, voices of the otherwise marginalised (eg: trans / mentally ill) are all underrepresented.
•	If focus in a unit is on technique, content can sometimes go unexamined (or underexamined).
•	We need to make explicit to students that it is inappropriate to make comments on staff members physical appearance (in person or in evaluations), and that the classroom experience is gendered (eg: female students are perceived as dominating a conversation if equally contributing, that female and male staff tend to be evaluated differently in teaching evaluations, etc). It is important to educate them to the implicit bias they are carrying and how that is likely to play out in a teaching space. Sharing data / studies around this is one approach.
•	Late classes can be a safety issue for female students.
•	Scary/disrespectful students – tend to be male.
•	Recognition of staff achievements to students is important. It should be better and more consistently communicated to our undergraduate cohort, being especially mindful that equal recognition for equal achievement is granted. Making the achievements of all staff visible to our undergraduate cohort will be empowering for them.
== 3.	Suggestions for improvement ==
Some things to consider here are: What extra details are needed to make these points meaningful? Specifically, what do these look like – for example where we say ‘raise a discussion’ what specifically should that discussion contain? Who is responsible for implementing the improvement? How and when can we commit to doing these? Again, please feel free to add to this.
•	Stage an induction for our commencing first year students around literary citizenship (perhaps attached to a unit)
•	Look at setting a quota of non-male readings, for example set a target of 50% inclusion of women writers in reading examples given to students
•	Be sure to consciously in all units include literature that destabilises hegemony and be explicit about this and raise a discussion around it with the students
•	Make a shared statement in week 1 of every unit every semester affirming our values 
•	Make all of our reading lists visible to each other (Sarah has already implemented this)
•	Jointly audit reading lists and collaborate on finding suitable readings
•	Make male academics in the discipline (both permanent and sessional) explicitly aware that they have a responsibility to model appropriate male behaviour. Discuss this with male sessional staff on appointment.
•	Clarify procedural issues around female sessional staff having to deal with problematic male students. One suggestion is to move them into tutes coordinator is taking. Perhaps we need to have more of a discussion around potential problematic students – but there are privacy and equity concerns here so how should we handle that?
•	Make a survey to send to our undergraduate students in advance of the retreat asking them for their perspectives and experiences and suggestions (Craig is implementing this)
•	Make our curriculum transparent to each other – for example, might we all add each other to all of our units as teaching staff so we can see Blackboard sites?
•	Include a larger percentage of new media forms and examples in our units (new media being less subject to historical gender, race and other canonical biases)
•	Introduce into our units more of a conversation around readership (not an ideal reader) including making our students aware of how markets in other countries might respond to texts. 
•	Make visible polyvocality. A range of indigenous perspectives. (Both first nations and more than one first nations Australian.)
•	Have a feminist writers week that is celebrated with an event and perhaps spoken to in our lectures that week in terms of content given.
•	Formulate a channel where recognition of staff achievement can be passed on to the undergraduate cohort (and this might include alumni and student achievement also)
•	Pay special attention to gender balances when appointing sessional staff.
== 4.	CWLS Set Texts 2016 ==
An audit conducted by Sarah Holland-Batt
Kwb108: Introduction to Literary Studies (Lesley Hawkes)
the take-home exam texts change every year but last year they were
"The Tiger's Bride" by Angela Carter
"The Journey of a Lifetime" by Peter Carey
"Hard Times" by Ron Rash
"The Serpent's Covenant" by Alexis Wright (Sandra supplied this short story)
poem by Les Murray: "An Absolutely Ordinary Rainbow".
"The Yellow Wallpaper" by Charlotte Perkins Gilman
(the students have to read these texts through different literary lens)
Reading List KWB104 – The Short Story (Craig Bolland)
 
Week One reading (theme: Character)
“Puppy” by George Saunders 
“Creative Writing” by Etgar Keret
“Goldrush Girl” by Jeanette Winterson
 
Week Two reading (theme: Developing ideas and a premise)
“The Ones Who Walk Away from Omelas” by Ursula K. Le Guin 
“Singing My Sister Down” by Margo Lanagan 
“Fat” by Raymond Carver
 
Week Three reading (theme: voice)
“The Shared Patio” by Miranda July 
“Incarnations of Burned Children” by David Foster Wallace 
“Mai” by Oodgeroo Noonuccal 
 
Week Four reading (theme: point of view)
“The Massive Rat” by David Mitchell 
“Bread” by Margaret Attwood 
“Recitatif” by Toni Morrison
 
Week Five reading (theme: voice + pov – guest lecture on plotting by Chris P.)
“Standard Loneliness Package” by Charles Yu 
‘Hills Like White Elephants’ by Ernest Hemingway
“A Rope Stretched Between” by Christopher Przewloka 
 
Week Six reading (theme: foregrounding)
“Wandering the Borderlands” by Poppy Z. Brite 
“Symbols and Signs” by Vladimir Nabokov 
“A Story for Children” by Svava Jakobsdottir
“Begin Again” by Grace Finlayson 
 
Week Seven reading (theme: place)
“The Prisoner Who Wore Glasses” by Bessie Head 
“When Mr. Pirzada Came to Dine” by Jhumpa Lahiri
“The Serpent's Covenant” by Alexis Wright 
Recently published short story by QUT student or grad circa 2-3,000 words
 
Week Eight readings (theme: realisations and arcs.)
“Araby” by James Joyce 
“The Evil B.B. Chow” by Steve Almond 
“By the Aral Sea” by Patrick Holland 
 
Week Nine readings (theme: scene transitions)
“Axis” by Alice Munro 
“Lust” by Susan Minot
Recently published short story by QUT student or grad circa 2-3,000 words
 
Week Ten readings (theme: modulation)
“A way of talking” by Patricia Grace
“The Lone Ranger and Tonto Fistfight in Heaven” by Sherman Alexie
“Ghosts and Empties” by Lauren Groff
KWB109 Writing Australia 2015 (Sandra Phillips)
Required reading: 
Van Neerven, Ellen (2014) Heat and Light. UQP. 
Condon, Matthew (2010) Brisbane. Sydney: NewSouth Books. (Considering replacing with Bruce Pascoe’s Dark Emu.) 
Hartnett, Sonya (2008) Butterfly. Australia: Viking. 
Johnson, Susan (2012) My Hundred Lovers. Allen & Unwin. (Proposing to replace with Marie Munkara’s Of Ashes and Rivers that Run to the Sea.) 
Le, Nam (2008) The Boat. Australia: Penguin. 
Lucashenko, Melissa (2013) Mullumbimby. University of Queensland Press. 
Malouf, David (1994) Remembering Babylon. Sydney: Vintage. 
Tsiolkas, Christos (2013), Barracuda. Allen & Unwin. (This is such a long read but fantastic on questions of masculinity and sexuality and the young men who finish reading it do seem to get a lot out of it. Samuel F. had been the in-house Tsiolkas expert, so I’m not entirely sure on this remaining, unless we have another Tsiolkas fan/critic in the house?)  
KWB113 Intro to Creative Writing (Rohan Wilson)
'Sex, Oversharing, and Writing' — Lena Duham
‘Why I Write’ — Orwell
‘Digging’ — Heaney
‘Misery’ — Chekov
‘Hills Like White Elephants’ — Hemingway
‘They Are Not Your Husband’ — Carver
‘The Laughing Man’ — Salinger
‘Girl’ — Jamaica Kincaid
‘Black Box’ — Jennifer Egan
‘Good Fortune’ — PJ Harvey
‘Hallelujah’ — Leonard Cohen
‘Swimming Pools’ — Kendrick Lamar
‘O California’ — SHB
‘I Go Back to May 1937’ — Sharon Olds
‘An Accommodation’ — Simon Armitage
KWB 110 (Writing Fundamentals) (Glen Thomas)
Week Two (Description)
Blatt, Ben. “A Textual Analysis of The Hunger Games.” Slate 20 Nov. 2013. 
Hanks, Robert. “On Putting Things Off.” London Review of Books 10 Sept. 2015. 
Week Three (Narration)
Menand, Louis. “Pulp’s Big Moment.” The New Yorker 5 Jan. 2015. 
Week Four (Exposition)
Greenfeld, Karl Taro. “My Daughter’s Homework is Killing Me.” The Atlantic October 2013. 
Week Five (Information)
Silver, Anna. “Twilight is Not Good for Maidens: Gender, Sexuality, and the Family in Stephanie Meyers’s Twilight.” Studies in the Novel 42 (2010). 
Bull, Kelly Byrne. “Analysing Style and Intertextuality in Twilight.” English Journal 98 (2009). 
Collins, Gail. “A Virginal Goth Girl.” The New York Times 12 Jul. 2008. 
Week Six (Discourse)
McKenna, Mark, and Ward, Stuart. “An Anzac Myth: The Creative Memorialisation of Gallipoli.” The Monthly December 2015 – January 2016. 
Week Seven (Argument)
Galway, Elizabeth A. “Reminders of Rugby in the Halls of Hogwarts: The Insidious Influence of the School Story Genre on the Works of J.K. Rowling.” Children’s Literature Association Quarterly 37.1 (2012). 
Week Eight (Paragraph Structure) 
Stevenson, Anne. “The City of Spare Parts.” Bitter Fame: A Life of Sylvia Plath. New York: Viking. 
Week Ten (Clarity and Editing)
Lanchester, John. “Expectations.” The New Yorker 9 Jan. 2012. 
End-of-semester Examination Readings
Monbiot, George. “The Zombie Doctrine.” 15 April, 2016. 
Updike, John. “Archangel.”
Garber, Megan. “Game of Thrones and the Paradox of Female beauty.” The Atlantic 
Myers, Kelly A. “Metanoic Movement: The Transformative Power of Regret.” College Composiotn and Communication 67 (2016): 385 – 391
KWB 115 Persuasive Writing) (Glen Thomas)
Week Two (Introduction)
Marvell, Andrew. “To His Coy Mistress.” 
Marlowe, Christopher. “The Passionate Shepherd to his Love.” 
Parker, Dorothy. “General Review of the Sex Situation”; “Resume”; “News Item”; “Unfortunate Coincidence”. 
Griffin, Em. “Cognitive Dissonance Theory.” A First Look at Communication Theory, 5th Ed. 
Week Three (Ideology)
Barrie, Matt. “Would the Last Peron in Sydney Please Turn the Lights Out?”
Birmingham, John. “Alcohol Laws Must Save Lives Without Killing Brisbane Nightlife.” 
Friendlyjordies. “The Sydney Lock Out Laws.”
Flannagan, Kitty. “Lock Out Laws.” 
“Stop the Coward’s Punch.”
Blanda, Sean. “The Other Side is not Dumb.”
Thwaites, Tony, Lloyd Davis, and Warwick Mules. “Ideology.” Tools for Cultural Studies, 2nd Ed. 
Week Four (Classical Rhetoric I)
Rosin, Hanna. “The Overprotected Kid.” The Atlantic April 2014.
 
Gopnik, Adam. “Dog Story.” The New Yorker 8 August, 2011.
 
Lakoff, George, and Mark Johnson. “Concepts We Live By.” 
Simons, Margaret. “What’s With All the War Metaphors?” The Guardian 17 Feb. 2015. 
Week Five (Classical Rhetoric II)
Keller, Julia. “Is PowerPoint the Devil? Chicago Tribune 22 Jan. 2003. 
Orwell, George. “Politics and the English Language.” 
Storr, Will. “What’s a Good Night Out?” The Australian Magazine 8 Dec. 2007. 
Week Seven (Values and Character)
Napper, Tim. “Snobs and Whingers: The New Australia.” The Drum 26 Aug. 2011. 
Gladwell, Malcolm.. “The Tweaker.” The New Yorker 14 Nov. 2011. 
Week Eight (Facts and Reason; satire)
Pearson, Luke. “The Nobel Savage Ultimatum.” IndigenousX
Wright, Glen. “Eight Things You Think are True, But Science Scoffs At.” The Guardian Higher Education Network 25 June, 2015. 
Cheese, John. “Five Bits of Advice That Don’t Make Sense Until It’s Too Late.” Cracked 9 Sept. 2011. 
Swift, Jonathan. “A Modest Proposal.” 
Week Nine (Political Campaigns)
Readings for this week are taken from the most recent political campaign. In 2016, this was the BCC election for council and mayor, so readings include letters and newsletters from Rod Harding, Graham Quirk, Peter Matic, etc, as well as the Yes and No cases in full for the referendum. 
Week Ten (Public Information Campaigns)
Queensland Government. “Be Safe and Watch Your Mates” 
Australian Government. “Be the Influence.”
Queensland Cancer Council. “Skin Cancer.”
“Stop the AVN.”
Australian Vaccination Network 
Australian Government. “Ice Destroys Lives.” 
GSK. “Horlicks.”
Week Twelve (Persuading Consumers)
Charles Atlas 
Why Husbands Leave Home 
Angelina Jolie LV 
Louis Vuitton Presents The Spirit of Travel 
Burn the Beer 
Winfield, 1970s 
Dear Smoking Ban 
Rise from the Ashes 
Blu electronic cigarette 
Rosetta Stone 
Rosetta Stone Parody 
Cage Free Eggs 
1960 Ford Falcon 
Victoria Bitter 1968-1996 
Vintage Car Advertisements 
KWB112 Youth and Children’s Writing: Sharyn Pearce
Ethel Turner, Seven Little Australians; 
Meg Rosoff, How I Live Now; 
Philip Pullman, Northern Lights; 
Neil Gaiman, The Graveyard Book; 
Sonya Hartnett, Sleeping Dogs; 
Shaun Tan, The Arrival; 
John Green, The Fault in our Stars; 
Suzanne Collins, The Hunger Games; 
Markus Zusak, The Book Thief. 
After a historical start, the emphasis is contemporary and genre.
KWB 114 (Scientific and Technical Writing) (Glen Thomas)
Shapin, Steven. “Pump and Circumstance: Robert Boyle’s Literary Technology.” Social Studies of Science 14 (1984). 
Brewer, Paul R. and Jessica McKnight. “Climate as Comedy: The Effects of Satirical Television News on Climate Change Perceptions.” Science Communication 37 (2015): 635–57.
Silvia Knobloch-Westerwick, Carroll J. Glynn and Michael Huge. “The Matilda Effect in Science Communication: An Experiment on Gender Bias in Publication Quality Perceptions and Collaboration Interest.” Science Communication 35 (2013): 603–25.
KWB116: Creative Nonfiction (Kari Gislason)
Lee Gutkind, ‘What is Creative Nonfiction?’ creativenonfiction.org
Lee Eisenberg, ‘The Right Stuff: The gang that wouldn't write straight.’ New York magazine
Tim Adams, ‘Dances with Wolfe.’ The Guardian
Vivek Wadhwa, 'My Secrets: How I became a prolific writer.' linkedin.com
Anthony Bourdain, “Kitchen God.” Salon.com
Molly Wizenberg, “Now You Know.” http://orangette.blogspot.com/
Alison Cotes, “Au Cirque excels with specials and all-day breakfast.” Courier Mail
Jennifer Steinhauer, “For a New Generation, Kimchi Goes With Tacos.” New York Times 
Stephanie Bishop, “There’s No Place Like Home.” The Australian
Kerryn Goldsworthy, Review of The Natural Way of Things, Sydney Morning Herald
James Wood, “The Uses of Oblivion.” New Yorker 
Gabe Meline. ‘Dividing Lines.’ metrosantacruz.com
David Fricke. ‘Bringing It All Back Home.’ Rolling Stone 
Kumar, Rashmee. “Coldplay: only the latest pop stars to misrepresent India as exotic playground.” The Guardian
Lane, Anthony. “The Fallen.” New Yorker 
Stratton, David. Reviews of “Anomalisa” and “Steve Jobs”. The Australian
Bunbury, Stephanie. “Aaron Sorkin on ethics, the perils of writing about real people and Steve Jobs as a world ruler.” Sydney Morning Herald
Smith, Ali, 'Portrait of my father.' Granta
Levy, Ariel, "Either/or." New Yorker
James, Clive. “Postcard from Rome.”
Breakdown of James’ “Postcard from Rome.' aremyfeetintheway.blogspot.com
Yoni Brenner, “Fourteen Passive-Aggressive Appetizers.” The New Yorker
Jeremy Clarkson, “Clarkson on Johnny Foreigner: Jeremy’s wit and wisdom.” The Sunday Times
Episode 84—Clive James. Enough Rope
Dillard, Annie. 'Seeing.'
Bass, Rick. “Why I Hunt.”
Lopez, Barry. “The Moment of Encounter.”
Keillor, Garrison. “When Your Brother Dies.” Salon.com 
Sedaris, David. “Old Faithful: Testing the Limits of Love” The New Yorker
Tomlins, Jacqueline. “Beyond the Straight and Narrow.” The Age 
Barrett, Lynne. 'What editors want.' The Review
"Beginners edited." New Yorker
Water, Georgia. "Reader's Choice: Brisbane's free press." Sydney Morning Herald
KWB 207 Great Books: The Creative Writing Classics (Glen Thomas)
Coetzee, J.M. Foe
White, Patrick. The Aunt’s Story. 
Fitzgerald, F. Scott. The Great Gatsby.
 
Woolf, Virginia. To The Lighthouse. 
Dickens, Charles. Hard Times. 
Bronte, Charlotte. Jane Eyre. 
Austen, Jane. Pride and Prejudice. 
DeFoe, Daniel. Roxana, or The Fortunate Mistress. 
Shakespeare, William. The Tempest. 
Homer. The Odyssey. 
Kwb210: Imagining the Americas (Lesley Hawkes)
Huckleberry Finn by Mark Twain
As I Lay Dying by William Faulkner
Of Mice and Men by John Steinbeck
Close Range by Annie Proulx
A Visit From the Goon Squad by Jennifer Egan
Beloved by Toni Morrison
An Absolutely True Diary of a Part-Time Indian by Sherman Alexie
By Night In Chile by Roberto Bolano
Reading List KWB211 – Stylistics (Craig Bolland)
 
Full Stories:
“A family Supper” by Kazuo Ishiguro
“Brokeback Mountain” by Annie Proulx
“Cathedral” by Raymond Carver
 
Significantly extracted:
“Closer” by Patrick Marber
“Little Miss Sunshine” by Michael Arndt
“Invisible Cities” by Italo Calvino
“Total eclipse” by Annie Dillard
 
Extracts given and unpacked:
Multiple in any given lecture, from a variety of forms. But typically representative would be:
“Lamb to the Slaughter” by Roald Dahl
“No Country For Old Men” by Cormac McCarthy
“The Road” by Cormac McCarthy
“Ulysses” by James Joyce
“Styles of Radical Will” by Susan Sontag
“Perdido Street Station” by China Mieville
“Super Sad True Love Story” by Gary Shteyngart
“55 miles to the gas pump” by Annie Proulx
“The Half Skinned Steer” by Annie Proulx
“Tits up in a ditch” by Annie Proulx
“The Life of Pi” by Yann Martel
“Written on the body” by Jeanette Winterson
“Phenomenology of Anger” by Adrienne Rich
“Sonnet 130” by Shakespeare
“Under Milk Wood” by Dylan Thomas
“State of Fear” by Michael Chichton
“The Hunger Games” by Suzanne Collins
“Bleak house” by Charles Dickens
“Solid Objects” by Virginia Woolf
“Heart of Darkness” by Joseph Conrad
“Victory Lap” by George Saunders
“Slouching Towards Bethlehem” by Joan Didion
“Lolita” by Vladimir Nabokov
“Grand Unified Theory of Female Pain” by Leslie Jamison
“Tender Buttons” by Gertrude Stein
“Steam Pigs” by Melissa Lucashenko
“The Gettysburg Address” by Abraham Lincoln
KWB209: Shakespeare (Lesley Hawkes)
Much Ado About Nothing
Hamlet
The Winter's Tale
The Merchant of Venice
Julius Caesar
Richard II
Twelfth Night
KWB 213 Corporate Writing & Editing (Glen Thomas) 
McKenna, Bernard, Glen Thomas, Mary Barry, and Neil Waddell. Corporate Communication: Effective Techniques for Business. Melbourne: Cengage, 2007. 
(Recommended but not compulsory)
KWB232: Advanced Practice 1 (Sarah Holland-Batt)
Citizen: An American Lyric - Claudia Rankine
The Emapthy Exams – Leslie Jamieson
Fates and Furies – Lauren Groff
Vampires in the Lemon Grove – Karen Russell
Young Skins – Colin Barrett
The Natural Way of Things – Charlotte Wood
The Isle of Youth - Laura Van Den Berg
Loitering – Charles d’Ambrosio
Redeployment – Phil Klay. 
KWB212: Writing Poetry (Sarah Holland-Batt)
A Poetry Handbook – Mary Oliver
Poems by: Gwendolyn Brooks, Adrienne Rich, Sappho, Li Po, Sylvia Plath, Ted Hughes, Langston Hughes, Li-Young Lee, Sharon Olds, Eugenio Montale, A.R. Ammons, Andre Breton, Paul Celan, Emily Dickinson, e.e. cummings, Anne Sexton, Simon Armitage, Christopher Smart, Mark Strand, Robert Lowell, Judith Beveridge, Oodgeroo Noonuccal, W.H. Auden, Elizabeth Bishop, Yusef Komunyakaa, Denise Levertov, Les Murray, Samuel Wagan Watson, Philip Larkin, Seamus Heaney, Dylan Thomas, Marilyn Hacker, Henri Cole, Pablo Neruda, Mary Jo Salter, Wallace Stevens, Claudia Rankine, Kenneth Koch, Ocean Vuong, James Wright, Louise Gluck, W.C. Williams, Wislawa Szymborska, Charles Simic, Lawrence Ferlinghetti, Shuzo Takiguchi, Robert Hass, Ezra Pound, Jack Kerouac, Basho.
Will be extracting from Ellen Van Neerven’s 2016 poetry collection Comfort Food in this year’s iteration too. 
KWB208 Modern Times-Twentieth Century Literature: Sue Carson
Joseph Conrad Heart of Darkness
Chinua Achebe Things Fall Apart
John Osborne Look Back in Anger
Ailing Zhang Lust, Caution
Chuck Palanhniuk Fight Club
Kazuo Ishiguro Never Let Me Go.
 
Popular Culture KWB311: Sue Carson
Some of the weeks have works that are digital platforms, or film scripts, but the novels are:
Tarzan; 
The Beach; 
Tolkien The Hobbit 
extracts from Game of Thrones; 
Sherlock Holmes stories 
Wyatt; Dr Who; 
plus a current romance. 
Kwb308: Wonderlands: 19th century Literature (Lesley Hawkes)
Romantic Poetry--a selection (Blake, Byron, Wordsworth, Coleridge)
Victorian Poetry--a selection (Tennyson, Elizabeth Browning)
Frankenstein by Mary Shelley
Dracula by Bram Stoker
Dr Jekyll and Mr Hyde
Tess by Thomas Hardy
Madame Bovary by Gustave Flaubert
A Christmas Carol by Charles Dickens
Marx and Darwin selections of writings
KWB310 Editing and Developing the Manuscript and KWB303 Writing and Publishing Industry (Sandra Phillips) 
These units are better served by wide suite of resources rather than set text/s given the ever-changing digitally-disrupted nature of the industries. I converted the formerly required text: Style manual – For authors, editors and publishers Sixth edition (Wiley 2002) from required to recommended in the first of these units. 
KWB302 Novel and Genre (Rohan Wilson)
Fingersmith — Sarah Waters
Neuromancer — Gibson
Tender Morsels — Margo Lanagan
The Road — McCarthy
KWB332 Advanced Practice (Rohan Wilson)
I use a variety of extracts and fragments just to illustrate different techniques, including bits from The Secret River, The Road, A Tale for the Time Being, Fingersmith, A Little Life, Zone of Interest, and others.
KWB313 Novel and Memoir (Kari Gislason)
Sedaris, David. When You Are Engulfed in Flames.
Winterson, Jeanette. Oranges Are Not The Only Fruit.
Eggers, Dave. A Heartbreaking Work of Staggering Genius.
Boo, Katherine. Behind The Beautiful Forevers.
Mendelsohn, Daniel. "But enough about me." New Yorker
Couser, G Thomas. "Genre Matters: Form, Force, and Filiation." Life Writing
Lindgren, Hugo. "How to write a "lives" essay." New York Times
Glover, Stuart. "The Disloyal Subject." Imago
Beachy, Stephen. "Who is the real J T LeRoy?" New York Magazine
Miller, Laura. "RIP: The novel." salon.com
Henley, Jon. "Karl Ove Knausgaard: I have given away my soul." The Guardian
O'Neill, Joseph. "Portrait of my father." Granta
Gislason, Kari. The Promise of Iceland. (extract)
Onega, Susan. "I'm telling you stories. Trust me."
"Harry Stamps Obituary." legacy.com
Plath, Sylvia. The Bell Jar. (extract)
Salinger, J.D. Catcher in the Rye. (extract)
Joyce, James. Portrait of the Artist as a Young Man. (extract)
Hornby, Nick. High Fidelity. (extract)
Bennett, Alan. Untold Stories. (extract)
Eugenides, Jeffrey. The Virgin Suicides. (extract)
Roy, Arundhati. The God of Small Things. (extract)
McKewan, Ian. Amsterdam. (extract)
Haddon, Mark. The Curious Incident of the Dog in the Nigh-time. (extract)
Smith, Zadie. White Teeth. (extract)
Meyer, Philipp. American Rust. (extract)
KWP415 Theory and Practice in Creative Writing and Literary Studies (Kari Gislason)
Michel Foucault, ‘What is an Author?’
Roland Barthes, ‘The Death of the Author’
William K. Wimsatt Jr. and Monroe C. Beardsley, ‘The Intentional Fallacy’
Clive James, ‘The Boy from Brisbane’
Alastair Minnis, Medieval Theory of Authorship (extract)
Christine de Pizan, ‘Reaction to Jean de Montreuil’s Treatise on Roman de la Rose’
Umberto Eco, ‘Dreaming of the Middle Ages’ 
Samuel Johnson, ‘Preface to Shakespeare’
Stephen, B. Dobranski, ‘The Birth of the Author: The Origins of Early Modern Printed Authority’ (extract)
D. H. Lawrence, ‘The Theatre’ 
Martha Woodmansee, ‘The Genius and the Copyright’
W. H. Auden, ‘Letter to Lord Byron’
David Saunders and Ian Hunter, ‘Lessons from the “Literatory”’
Sue Prideaux, Strindberg: A Life (extract)
Virginia Woolf, ‘A Room of One’s Own’
Richard Grusin, ‘What is an Electronic Author?’
Julian Barnes, ‘Flaubert’s Death Masks’
Italo Calvino, ‘Hermit in Paris’
Joyce Carol Oates, ‘Cards of Identity’
J. M. Coetzee, ‘Dostoevsky: The Miraculous Years’
James Salter, ‘The Finest Life You Ever Saw’
Ian McKewan, ‘When I Stop Believing in Fiction’
T. S. Eliot, ‘Tradition and the Individual Talent’
KWP411 Writing Workshop (Rohan Wilson)
‘Get A Real Degree’ — Batuman
‘Literary Love’ — Harold Bloom
‘On the Origin of Stories’ — Boyd
Peter Carey Paris Review interview
‘Epic and Novel’ — Bakhtin 
Hemingway’s Paris Review interview
‘Reading for Plot’ — Brooks
Janet Malcom’s Paris Review interview
Toni Morrison’s Paris Review interview
‘Mr Bennet and Mrs Brown’ — Woolf
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