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Book History in Australia Since 1950 Katherine Bode Preprint: Chapter 1
Book History in Australia since 1950 Katherine Bode Preprint: Chapter 1, Oxford History of the Novel in English: The Novel in Australia, Canada, New Zealand and the South Pacific since 1950. Edited by Coral Howells, Paul Sharrad and Gerry Turcotte. Oxford: Oxford University Press, 2017. Publication of Australian novels and discussion of this phenomenon have long been sites for the expression of wider tensions between national identity and overseas influence characteristic of postcolonial societies. Australian novel publishing since 1950 can be roughly divided into three periods, characterized by the specific, and changing, relationship between national and non-national influences. In the first, the 1950s and 1960s, British companies dominated the publication of Australian novels, and publishing decisions were predominantly made overseas. Yet a local industry also emerged, driven by often contradictory impulses of national sentiment, and demand for American-style pulp fiction. In the second period, the 1970s and 1980s, cultural nationalist policies and broad social changes supported the growth of a vibrant local publishing industry. At the same time, the significant economic and logistical challenges of local publishing led to closures and mergers, and—along with the increasing globalization of publishing—enabled the entry of large, multinational enterprises into the market. This latter trend, and the processes of globalization and deregulation, continued in the final period, since the 1990s. Nevertheless, these decades have also witnessed the ongoing development and consolidation of local publishing of Australian novels— including in new forms of e-publishing and self-publishing—as well as continued government and social support for this activity, and for Australian literature more broadly. -
The Literary Studies Convention @ Wollongong University 7 – 11 July 2015
1 The Literary Studies Convention @ Wollongong University 7 – 11 July 2015 with the support of AAL, the Australasian Association of Literature ASAL, the Association for the Study of Australian Literature AULLA, the Australasian Universities Language and Literature Association The Faculty of Law, Humanities and the Arts School of the Arts, English and Media English and Writing Program University of Wollongong and Cengage Learning Maney Publishing The convention venues are Buildings 19, 20 and 24 of the University of Wollongong. The Barry Andrews Memorial Lecture and Prize-Giving will be in the Hope Lecture Theatre (Building 43) ** Please note that some books by delegates and keynote speakers will be for sale in the University of Wollongong’s Unishop in Building 11. Look for the special display for the Literary Networks Convention. 2 3 Barry Andrews Memorial Address: Tony Birch .......................................................................... 10 Keynote Address: Carolyn Dinshaw ............................................................................................. 11 Keynote Address: Rita Felski ......................................................................................................... 12 Dorothy Green Memorial Lecture: Susan K. Martin .................................................................. 13 Plenary Panel: Australia’s Literary Culture and the Australian Book Industry ....................... 14 Plenary Panel: Literary Studies in Australian Universities – Structures and Futures ........... 16 Stephen -
Kim Scott's Writing and the Wirlomin Noongar Language and Stories Project
Disputed Territories as Sites of Possibility: Kim Scott's Writing and the Wirlomin Noongar Language and Stories Project Natalie Quinlivan BA International Studies, BA Communications (Creative Writing), MA English A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences School of Literature, Art and Media University of Sydney April 2019 Abstract Kim Scott was the first Aboriginal author to win the Miles Franklin Literary Award in 2000 for Benang, an award he won again in 2011 for That Deadman Dance. Yet despite these national accolades, Scott interrogates the very categories of Australian and Indigenous literatures to which his work is subjected. His writing reimagines, incorporates and challenges colonial ways of thinking about people and place. This thesis reveals the provocative proposal running through Scott’s collected works and projects that contemporary Australian society (and literature) should be grafted onto regional Aboriginal languages and stories as a way to express a national sense of “who we are and what we might be”. Scott’s vision of a truly postcolonial Australia and literature is articulated through his collected writings which form a network of social, historical, political and personal narratives. This thesis traces how Scott’s writing and the Wirlomin Noongar Language and Stories Project (Wirlomin Project) reconfigure colonial power relationships in the disputed territories of place, language, history, identity and the globalised world of literature. Ultimately, Scott intends to create an empowered Noongar position in cross-cultural exchange and does so by disrupting the fixed categories inherent in these territories; territories constructed during the colonising and nationalising of Australia. -
21 – 23 February University of Western Australia Welcome to Literature & Ideas
PERTH FESTIVAL LITERATURE & IDEAS 21 – 23 FEBRUARY UNIVERSITY OF WESTERN AUSTRALIA WELCOME TO LITERATURE & IDEAS Perth Festival acknowledges the Noongar people who continue to practise their values, language, beliefs and knowledge on their kwobidak boodjar. They remain the spiritual and cultural birdiyangara of this place and we honour and respect their caretakers and custodians and the vital role Noongar people play for our community and our Festival to flourish. Welcome to Perth Festival’s Literature & Ideas Weekend, nestled on the campus of the University of Western Australia, our Founding Partner. Within a broader Festival 2020 program that celebrates this city and its stories, this weekend acknowledges the importance of histories both oral and written, as we share figurative campfires of understanding here on Whadjuk Boodja. This festival-in-a-festival has been curated by extraordinary local writer, Sisonke Msimang. Her broad knowledge is matched only by the size of her heart – traits that shine through in this program of big ideas and intimate revelation. I do trust you’ll enjoy it. IAIN GRANDAGE Image: Jess Wyld ARTISTIC DIRECTOR Image: Nick White The Stevie Wonder song ‘Love’s in Need of Love Today’ was an a more overt role in our public discussions. This is no excuse to integral part of my childhood. At every family party it would be avoid truth telling: we have asked our guests to bring their most played at full blast and everyone would join in, singing along at the loving, direct and clear selves to the table. top of our voices until we were drowning out Stevie, belting out We are excited to introduce you to an international roster of the lyrics which managed to be simultaneously saccharine and writers from Indonesia, Bangladesh, Thailand, Nigeria and Pakistan poignant: whose books we love. -
ABR Favourite Australian Novels
Announcing the top ten ABR Favourite Australian Novels Of the 290 individual novels that were nominated in the ABR FAN Poll, below we list the top ten. At the foot of page 25 we simply name the ten titles that followed. We don’t have room to list all of your favourites. A complete alphabetical listing now appears on our website: www.australian- bookreview.com – a fillip to further reading and to a deeper appreciation of the range of Australian fiction, which was our shy hope when we polled our readers. Cloudstreet im Winton’s books attract international kudos, pres- 1 tigious awards and massive sales. Winton won the Australian/Vogel National Award with his first novel andT last year became only the second person to win the Miles Franklin Award four times. Cloudstreet, published in 1991, holds a unique place in Australian readers’ affections. Winton’s tale of the Lambs and the Pickles from the end of World War II to the 1960s won the 1992 Miles Franklin Award and was dramatised by Nick Enright and Justin Monjo. Presciently, in 1994, The Oxford Companion to Australian Literature predicted that ‘it seems certain to establish itself as one of Australia’s best novels’. Countless voters agreed. One of them, Carla Ziino, described it as ‘the quintessential Australian novel’. The Fortunes Voss of Richard atrick White, 2 3 Australia’s first Mahony Nobel Laureate Pfor Literature, dominat- enry Handel’s ed Australian literature grand trilogy from the 1950s to his – Australia death in 1990. Voss, his HFelix (1917), The Way fifth novel, published Home (1925) and Ultima in 1957, won the first Thule (1929), first col- Miles Franklin Award. -
Ethics of Representation and Self-Reflexivity: Nicolas Rothwell's
Ethics of Representation and Self-Reflexivity: Nicolas Rothwell’s Narrative Essays STEPHANE CORDIER UNIVERSITY OF WOLLONGONG Australian literature has been preoccupied, perhaps even obsessed, with representations of place and space. What started as a nationalising enterprise, an attempt to artificially cement place-making by substituting landscape for unknown space (Bennett 21), slowly gave rise to texts that interrogate settler colonial culture through spatial contestations. Yet, as Laurie Clancy argued in 1993, literary forms have proven resistant to decolonisation: ‘in the last two decades the self-conscious preoccupation with landscape among Australian fiction writers has become . debilitating and even self-destructive’ (49). The 1988 Bicentenary could be seen as a turning point in Australian history and culture. The array of festivities around the event may be interpreted as an orchestration of reified forms of settler-belonging to counter a rising intellectual opposition to a monolithic conceptualisation of history, art and culture; a last- ditch political effort from centric forms of power to re-assert traditional forms of belonging in the settler imaginary. But the Bicentenary also coincided with non-Indigenous Australian writers beginning to inscribe unbelonging at the heart of their fictions and non-fictions.1 Spatial crises, non-belonging and unbelonging are, increasingly, features of contemporary Australian literature, as demonstrated in the works of Michele de Kretser, Richard Flanagan, Ross Gibson, Christos Tsiolkas or Tim Winton (Cordier, ‘Intimate Immensities’). Non- Indigenous authors who grapple with settler identity in the twenty-first century are also in search of ethical literary forms that reflect a necessary erosion of settler dominance, privilege or class. -
The Blackwords Symposium: the Past, Present, and Future of Aboriginal and Torres Strait Islander Literature
The BlackWords Symposium: The Past, Present, and Future of Aboriginal and Torres Strait Islander Literature KERRY KILNER University of Queensland PETER MINTER University of Sydney We write to create, to survive, and to revolutionise; we write to haunt and we ache because we refuse to leave the past alone. We aim to disrupt the State’s founding order of things, to disrupt ‘patriarchal white sovereignty’ (Moreton- Robinson), white heteronormativity, and the colonial-continuum of history. (Harkin, herein) The BlackWords Symposium, held in October 2012, celebrated the fifth anniversary of the establishment of BlackWords, the AustLit-supported project recording information about, and research into, Aboriginal and Torres Strait Islander writers and storytellers. The symposium showcased the exciting state of Aboriginal and Torres Strait Islander creative writing and storytelling across all forms, contemporary scholarship on Indigenous writing, alongside programs such as the State Library of Queensland’s black&write! project, which supports writers’ fellowships, editing mentorships, and a trainee editor program for professional development for Indigenous editors. But really, the event was a celebration of the sort of thinking, the sort of resistance, and the re-writing of history that is evident in the epigraph to this introduction. The speakers, who included Melissa Lucashenko, Wesley Enoch, Sandra Phillips, Ellen Van Neerven, Jeanine Leane, and Boori Pryor alongside the authors of the works in this collection, explored a diverse range of topics -
Single Motherhood As a Site for Feminist Reimagination in Helen Garner’S Monkey Grip and ‘Other People’S Children’
Single Motherhood as a Site for Feminist Reimagination in Helen Garner’s Monkey Grip and ‘Other People’s Children’ JANE SCERRI UNIVERSITY OF WESTERN SYDNEY Introduction: Helen Garner: Breaking Down Old Structures … Historically Australian single mothers were vilified as ‘fallen’ and considered a ‘polluting influence’ and ‘a danger to [their] child[ren]’ (Swain 10). Contemporarily, as Emily Wolfinger (2016) observes, the dominant critique of single mothers has shifted from concerns about their morality to their ability to provide economically for their children, suggesting that contemporary conservatism prioritises the financial over the social. Garner’s single mothers in Monkey Grip (1977) and ‘Other People’s Children’ (1980) existed in a socially experimental milieu; one that denounced historical vilification and preceded the contemporary negative rhetoric of neoliberalism which characterises single mothers as economically irresponsible, non-working and a burden on society. This milieu, viewed retrospectively, provides a fertile space in which to reimagine and reframe contemporary single motherhood, especially if contemporary single mothers are to be again judged according to outdated ‘good’ mother myths1 reinforced by economic neoliberalism. In this way, a re-examination of Garner’s depiction of single motherhood, with its focus on domestic spaces and female concerns might reorient modern single mothers to a second-wave feminist style presumption of their ‘natural’ equal rights as women and mothers; bearing in mind that economic constraints, a major factor when contending agency, vary across class and time. I argue that single mothers, by virtue of their decampment from the nuclear family, debunk the myth of the ‘good’ mother, either by not adopting, or by abandoning, their traditionally othered position within it, and therefore evade at least some of the mythologised discourse by controlling and managing their own space. -
Representations of the Domestic in Kate Grenville's the Secret River and Sarah Thornhill
promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/77334/ Paper: Staniforth, MJ (2013) Depicting the Colonial Home: Representations of the Domestic in Kate Grenville's The Secret River and Sarah Thornhill. Journal of the Association for the Study of Australian Literature, 13 (2). (12). http://www.nla.gov.au/openpublish/index.php/jasal White Rose Research Online [email protected] Depicting the Colonial Home: Representations of the Domestic in Kate Grenville’s The Secret River and Sarah Thornhill MARTIN STANIFORTH University of Leeds In Searching for the Secret River, Kate Grenville’s 2006 account of writing her novel The Secret River, she grounds her decision to write the book in two events. The first was her participation in the 2000 ‘Sorry Day’ Reconciliation Walk across Sydney Harbour Bridge, when an exchange of smiles with an Aboriginal woman led her to wonder about her ancestor’s settling on the land and ‘who might have been living on that land, and how he’d persuaded them to leave it’ (13). The second was an encounter that same year with Aboriginal writer Melissa Lucashenko, who challenged her repetition of the ‘family story: a formula, unquestionable’ (28) that her grandfather took up, rather than simply took, land on the Hawkesbury River. The resulting novel is clearly ‘positioned ... as an expression of progressive politics in relation to reconciliation and the history wars’ (Nolan and Clarke 11). As such it has been described both as ‘a reworking of the narrative of settlement with a contemporary sensibility’ (Kossew 9) and as ‘a most unpalatable and confronting depiction of whiteness as implicated in the massacre of Aboriginal people’ (Kelada 2). -
Frank Moorhouse: a Retrospective
Frank Moorhouse: A Retrospective Today, publication in the United States represents for probably most Australian writers, and readers, the same kind of recognition that publication in England did for so long in the past. Until toward the end of the nineteenth century, when the establishment of local presses coincided with conscious effort to develop a native literature, London or Edinburgh offered the Australian writer virtually the only chance of publication. A consequence of this cultural colonialism for this century has been a tendency to distinguish between 'characteristically' Australian writing published locally and the more 'international' writing by Australians published elsewhere-even though this has often been confused by consideration of the writers' country of birth or residence, their concerns, and the continuance from last century of the debate over the appropriateness of absolute 'universal' or relative 'local' critical criteria. There is nothing unusual about this in the history of a comparatively new literary culture, nor that 'metropolitan' recognition was sought and welcomed (with London, historically, providing the metropolis of letters). Writers who published abroad, however, often suffered delayed recognition in their own country: the most familiar examples among novelists would be Christina Stead and Patrick White, who from the beginnings of their careers published in London and New York. Although today the more artificial aspects of this distinction between local and international writing have faded, there still -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. INTERSUBJECTIVE ACTS AND RELATIONAL SELVES IN CONTEMPORARY AUSTRALIAN ABORIGINAL AND AOTEAROA/NEW ZEALAND MAORI WOMEN’S WRITING Justine Seran Thesis submitted for the degree of Doctor of Philosophy English Literature Department School of Literatures, Languages and Cultures The University of Edinburgh 2015 ii Declaration This is to certify that that the work contained within has been composed by me and is entirely my own work. Ideas and passages reproduced from other sources have been properly acknowledged. No part of this thesis has been submitted for any other degree or professional qualification. Certain ideas and passages from Chapter 4 have been published as “Australian Aboriginal Memoirs and Memory: A Stolen Generations Trauma Narrative” in the special issue “Decolonizing Trauma Studies: Trauma and Postcolonialism” of Humanities 4 (2015): 661-675. -
Mothering, Resistance and Survival in Kathleen Mary Fallon's Paydirt and Melissa Lucashenko's Mullumbimby
VICTORIA BROOKMAN Mothering, Resistance and Survival in Kathleen Mary Fallon’s Paydirt and Melissa Lucashenko’s Mullumbimby The systematic removal of Indigenous Australian children was officially exposed over two decades ago, and the Australian Federal Government made an official apology for the practice in 2008, yet the removal rate of Indigenous Australian children by authorities remains disproportionately high. Child removal, inequalities in health, educational, and financial outcomes, and the pervasive ongoing cultural and systematic hostility against First Nations Australians, combine to create a hostile external culture for Indigenous children to grow up in. This article examines how the struggle to raise Indigenous Australian children within this hostile external context manifests in contemporary Australian literature, with respect to two texts: Paydirt (2007) by Kathleen Mary Fallon and Mullumbimby (2013) by Melissa Lucashenko. Both novels have partially autobiographical elements and feature women mothering teenage Indigenous Australian children. In each novel, the threat of child removal is used as a framing device, and reconnection to traditional Indigenous Australian culture forms both a remedy and an essential component of the survival of the children concerned. This article provides a close reading of the themes and narratives of these novels in relation to the Australian political and cultural context in order to examine how it is that the texts’ authors integrate their characters’ maternal practice with their essential resistance