Reorienting the narrative of digital media studies to incorporate the medieval, Participatory reading in late-medieval England traces affinities between digital and medieval media to explore how participation defined reading practices and shaped relations between writers and readers in England’s literary culture from the late-fourteenth to early sixteenth centuries. Traditionally, print operates as the comparative touchstone of both medieval and digital media, but Participatory reading argues that the latter share more in common with each other than either does with print. Working on the borders of digital humanities, medieval cultural studies, and the history of the book, Participatory reading draws on well-known and little-studied works ranging from Chaucer to banqueting poems and wall-texts to demonstrate how medieval writers and readers engaged with practices familiar in digital media today, from crowd-sourced editing to nonlinear apprehension to mobility, temporality, and forensic materiality illuminate. Writers turned to these practices in order to both elicit and control readers’ engagement with their works in ways that would benefit the writers’ reputations along with the transmission and interpretation of their texts, while readers pursued their own agendas—which could conflict with or set aside writers’ attempts to frame readers’ work. The interactions that gather around participatory reading practices reflect concerns about authority, literacy, and media formats, before and after the introduction of print. Participatory reading is of interest to students and scholars of medieval literature, book, and reading history, in addition to those interested in the long history of media studies.
Peter Philip Carey born in Bacchus Marsh, Victoria.
Attended Bacchus Marsh State School.
Attended Geelong Grammar School as boarder.
Began science degree at Monash University, Melbourne; serious car accident.
Worked for Walker Robertson Maquire advertising agency, Melbourne; met Barry Oakley and Maurice Lurie.
Wrote first novel Contacts (unpublished); married Leigh Weetman.
Finalist for Stanford writing scholarship.
First publication: extract from novel, Contacts, in Under Twenty-five: an anthology; wrote second novel, The Futility Machine – accepted by Sun Books but not published.
Story ‘She Wakes’ published in Australian Letters.
Travelled in Europe; lived in London working in advertising copywriting; wrote third novel, Wog (unpublished).
Returned to Australia; began writing stories which became The Fat Man in History; worked part-time as advertising copywriter in Melbourne; shortlisted for Stanford writing scholarship.
Worked in advertising; wrote fourth novel Adventures Aboard the Marie Celeste – accepted by Outback Press but withdrawn by Carey in favour of The Fat Man in History.
Separated from Leigh Weetman.
Moved to Balmain district of Sydney; worked for Grey advertising; relationship with Margot Hutcheson; The Fat Man in History published by University of Queensland Press.
Joined alternative community at Yandina in Queensland, working part-time for Grey’s and writing War Crimes stories and Bliss.
War Crimes published by University of Queensland Press; worked with Ray Lawrence on screenplay based on ‘Happy Story’.
Left Grey’s; formed joint advertising agency with Bani McSpedden; completed Bliss; returned to Sydney; selected stories published in London and New York as The Fat Man in History; awarded New South Wales Premier’s Award for War Crimes.
Moved to Gleniffer near Bellingen, NSW; Bliss published by University of Queensland Press and Faber; worked with Ray Lawrence on screenplay based on ‘Life and Death in the South Side Pavilion’.
Won New South Wales Premier’s Award, Miles Franklin Award and National Book Council Award for Bliss.
Met Alison Summers.
Married Alison Summers; Illywhacker published by University of Queensland Press, Faber, and Harper and Row; won Age Book of the Year Award, NBC Award for Australian Literature, FAW Barbara Ramsden Award, and shortlisted for Booker Prize for Illywhacker; film of Bliss released, screenplay by Carey and Ray Lawrence – won best picture, director and screenplay awards from Australian Film Institute, and entered for Cannes Festival.
Collaborative project with performance artist Mike Mullins, Illusion, an eco-political rock musical; began Oscar and Lucinda; son Sam born.
Oscar and Lucinda published by University of Queensland Press, Faber and Harper and Row; won Booker Prize; elected FRSL.
Awarded Miles Franklin Award, NBC Banjo Award and Foundation for Australian Literary Studies Award for Oscar and Lucinda; moved to Greenwich Village, New York; began teaching creative writing classes at New York University.
Son Charley Summers born.
The Tax Inspector published by University of Queensland Press, Faber and Alfred A. Knopf.
The Unusual Life of Tristan Smith published by University of Queensland Press, Faber and Harper & Row. Collected Stories published by University of Queensland Press.
Collected Stories published by Faber; The Big Bazoohley published by University of Queensland Press, Faber and Henry Holt.
Jack Maggs published by University of Queensland Press, Faber and Knopf; wins Age Book of the Year.
Awarded Commonwealth Writers Prize and Miles Franklin Award for Jack Maggs.
True History of the Kelly Gang published by University of Queensland Press.
True History of the Kelly Gang published by Faber and Knopf; wins Booker Prize, Commonwealth Writers Prize, Townsville Foundation for Australian Literary Studies Award and Victorian Premier’s Literary Award; 30 Days in Sydney published by Bloomsbury; publishes letter about World Trade Center attack.