Yves Rees
Yves Rees reviews ‘A Language of Limbs: A novel’ by Dylin Hardcastle
In early 1971, two Newcastle teenagers are overcome with sapphic appetites. Each is inflamed with lust for her childhood best friend, the literal girl next door. What to do about this forbidden desire? The first – Limb One – acts on her hunger. She enjoys a golden summer of covert fucking, before being discovered by her parents in flagrante delicto. After being beaten and kicked out of home, she hitches a ride to Sydney. True to herself, she is homeless and alone at sixteen. The second – Limb Two – follows the more well-worn path of repression. She buries her desires, acquires a boyfriend, studies hard. The good girl, beloved by her parents. One conundrum, two choices. How will the dice fall?
... (read more)What the authors of these three wildly different books share is a gift for creating through language a kind of intimacy of presence, as though they were in the room with you. Emily Wilson’s much-awaited translation of The Iliad (W.W. Norton & Company) is a gorgeous, hefty hardback with substantial authorial commentary that manages to be both scholarly and engaging. The poem is translated into effortless-looking blank verse that reads like music. The Running Grave (Sphere) by Robert Galbraith (aka J.K. Rowling), the seventh novel in the Cormoran Strike crime series and one of the best so far, features Rowling’s gift for the creation of memorable characters and a cracking plot about a toxic religious cult. Charlotte Wood’s Stone Yard Devotional (Allen & Unwin, reviewed in this issue of ABR) lingers in the reader’s mind, with the haunting grammar of its title, the restrained artistry of its structure, and the elusive way that it explores modes of memory, grief, and regret.
... (read more)Yves Rees reviews 'A Real Piece of Work: A memoir in essays' by Erin Riley
A lot can change in a few years. In March 2020, on the eve of the Covid-19 pandemic, I wrote a review essay for ABR about the proliferation of trans and gender diverse (TGD) life writing. Back then, the most notable examples came from overseas, and – with the exception of established names like ABC’s Eddie Ayres (now Ed Le Broq), author of the 2017 memoir Danger Music – major Australian publishers had yet to take a chance on local trans voices.
... (read more)Yves Rees reviews 'The Hidden Case of Ewan Forbes' by Zoë Playdon
In winter 2019, Victoria’s Labor government tabled legislation that would make it easier for trans people to correct the sex marker on their birth certificate. Previously, trans people were required to have surgery on their reproductive organs before they could amend this foundational legal document. This requirement caused significant problems for the many trans people who don’t want or cannot afford surgery. Unable to correct their birth certificate, trans people often lived with a mismatch between their gender presentation and legal identity, a situation which forced them to disclose their transgender status and expose themselves to harassment and discrimination – or worse.
... (read more)Yves Rees’s memoir All About Yves charts their experience of coming out as trans. The book documents the challenges of the transition in a colonial society built for and around the gender binary. Rees invites the reader into their everyday life. The point is to make their ‘gender legible in a world that refuses to see it’, and the author sets out from this premise.
... (read more)In the pre-television era of the early twentieth century, radio reigned supreme. It offered news and light entertainment, but also a means of communion and solidarity for the many women confined to the domestic sphere. In her new book Sound Citizens, historian Dr Catherine Fisher explores how a cohort of professional women broadcasters, activists, and politicians began utilising radio to improve the status and rights of women in Australia. In today’s episode, we hear from writer and historian Dr Yves Rees, who reviewed the book for ABR’s recent September issue. Rees is a David Myers Research Fellow in History at La Trobe University and co-host of the history podcast Archive Fever. Yves has published widely across Australian gender, transnational and economic history, and also writes on transgender identity and politics.
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Yves Rees reviews 'Sound Citizens: Australian women broadcasters claim their voice, 1923-1956' by Catherine Fisher
In the era of perpetual Covid lockdowns, many of us can relate to the isolation of the mid-twentieth-century housewife. Like her, we’re stuck at home, orbiting our kitchens, watching the light move across the floorboards. Each day mirrors the last, a quiet existence spent mostly in the company of the immediate household. Yet whereas we can flee our domestic confines via Netflix or TikTok, last century’s housewife had fewer avenues to the wider world. There was reading, of course – books or magazines or newspapers – but this was usually reserved for the end of the day. For most waking hours, her hands and eyes were needed for cooking, cleaning, mending, childcare, and a thousand other tasks.
... (read more)The Calibre Essay Prize is one of the world's leading prizes for an original non-fiction essay. This year was the fourteenth time ABR has presented the prize, which is now worth a total of $7,500. The winner of this year's prize is Dr Yves Rees, whose essay is titled 'Reading the Mess Backwards'. Rees, who came out as transgender aged 31, describes their essay as 'a story of trans becoming that digs into the messiness of bodies, gender, and identity'. The full essay appears in the June-July issue of ABR.
... (read more)2020 Calibre Essay Prize (Winner): 'Reading the Mess Backwards' by Yves Rees
When I’m ten or so, my brother appears shirtless at the dinner table. Ever the eager disciple, I follow his example without a second thought. It is a sweltering January day, and our bodies are salt-crusted from the beach. Clothing seems cruel in these conditions. As my brother tucks into his schnitzel, tanned chest gleaming, I grow conscious that the mood has become strained. Across the table, my parents exchange glances. The midsummer cheer of recent evenings is on hold.
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