Carody Culver

Carody Culver is a freelance writer and editor and part-time bookseller. Her work has appeared in Kill Your Darlings, Archer, Peppermint, Books+Publishing, The Toast, Junkee and Spook. She’s also Assistant Editor at Peppermint magazine and Co-Editor for the Fanciful Fiction Auxiliary, a writing and performance project that celebrates the art of bad romance. Carody was the 2014 Books Columnist for Kill Your Darlings online. carodyculver.com / @carodyc

No Such Thing As Monsters: Shirley Jackson and the Unspeakable Everyday

KYD No.22 teaser: ‘No Such Thing As Monsters’

Taking Christmas off the shelf

Closet Concerns: Women in Clothes

The witch is dead: Hilary Mantel’s The Assassination of Margaret Thatcher

Charmless lives: Helen Garner’s This House of Grief and Erik Jensen’s Acute Misfortune

‘As if the top of my head were taken off’: The digital possibilities of poetry

Man out of time: Nick Earls and his analogue people

Everybody hurts: Leslie Jamison’s The Empathy Exams

Jeanette Winterson’s sacred and secular space

A published afterlife: Marina Keegan’s The Opposite of Loneliness

Learning from semi-charmed lives

July’s First Book Club: Notes on Jock Serong’s Quota

Searching for Mr Salinger

Giving voice to a silent profession

Highbrow vs Lowbrow: Carody Culver defends Lowbrow Literature

Novellas are no short shrift

We need to talk about sexism

Reviving the literary dead

Girls, eat your hearts out

Houston, we have a fabrication

WASPiration: David Gilbert’s & Sons

The pseudonymous critic

Behind you! Return of the zombie apocalypse in MR Carey’s The Girl with All the Gifts

Click trick: the blog-to-book phenomenon

Going by the book in 2014

Desk Jockeying: How I Learned to Stop Worrying and Love My Work

Eleven years later: Donna Tartt’s The Goldfinch

The 2013 Man Booker Shortlist: Jim Crace’s Harvest

Return to Wolf Creek: does Australia Care?

Writing the Capital: The Myth of Community in NW and Capital

Cloud hopping

I won’t be eating my words: narrative in cookbooks

Not such a bitter aftertaste: Ian McEwan’s Sweet Tooth

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