The Myth of Certainty and the Matrix of Uncertainty: Five Contemporary Australian Novels Confront History

Total Page:16

File Type:pdf, Size:1020Kb

The Myth of Certainty and the Matrix of Uncertainty: Five Contemporary Australian Novels Confront History The Myth of Certainty and the Matrix of Uncertainty: Five Contemporary Australian Novels Confront History by Charles Scott Nesbitt A dissertation submitted to the Graduate Faculty of Auburn University in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Auburn, Alabama August 7, 2021 Keywords: Historiographic Metafiction, British Literature, Contemporary British and Antipodean Novels, Australia, Postmodernism, Postcolonialism Copyright 2021 by Charles Scott Nesbitt Approved by Dr. Jon Bolton, Chair, Department of English Dr. Alicia Carroll, Department of English Dr. Ernest L. Gibson III, Department of English Dr. Chris Keirstead, Department of English Dr. Rupali Mishra, Department of History Abstract The intersection of postcolonialism and historiographic metafiction can be seen in novels written over the last several decades by British and Antipodean authors concerning the British colonial era in Australia and its aftermath. Novels from this sub-group of writers of historiographic metafiction fit both Linda Hutcheon’s description of historiographic metafiction and some of the concerns of postcolonial writers and theorists, as they revisit the colonial era and critique or reassess the historiographic writings that helped galvanize pro-colonial perspectives and marginalize and dehumanize the Indigenous communities there. While there is much scholarship on historiographic metafiction and postcolonialism, this volume focuses on the specific nexus of those two concepts and its coalescence in contemporary Australian novels of the colonial and postcolonial experience. The novels covered in this volume—by Peter Carey, Matthew Kneale, Rachel Leary, Richard Flanagan, and Alexis Wright—share an interest in 19th Century Australia, the violence and injustice that were an inescapable part of the foundation of the country during that period, and the potential dubiousness of historical documentation. The self-reflexivity, magical realism, intertextuality, and other elements of historiographic metafiction in these novels force a reckoning with the textualization of history and illustrate the epistemological effects of official documentation and widely accepted or mythologized historical accounts and the way such writings create understandings of events and historical figures that can shape beliefs and ideologies for centuries. 2 Acknowledgments Many thanks to my dissertation chair, Dr. Jon Bolton, for his guidance, encouragement, and patience; to the other members of my committee, Dr. Alicia Carroll, Dr. Ernest L. Gibson III, Dr. Chris Keirstead, and Dr. Rupali Mishra, for their time, expertise, and feedback; to my wife, Karen, for all of her support, belief, and help; and to my mother, Sandra, and the rest of my family for believing in me and for decades of helping me reach this point. 3 Table of Contents Introduction: The Myth of Certainty ............................................................................................... 5 Peter Carey’s True History of the Kelly Gang: Truth in Lies ....................................................... 22 Avenging History: Richard Flanagan’s Use of Magical Realism, Intertextuality, and a Fish Called Gould to De-Silence the Sarah Island Prison .................................................................... 53 Bridget Crack: Cracks in History ................................................................................................. 83 Nothing is Certain, Unless Publication Makes It So: Intertextuality, Parody, and Polyphony in Matthew Kneale’s English Passengers ....................................................................................... 109 “Our Country is a Very Big Story”: The Present is the Past in Alexis Wright’s Carpentaria .. 141 Conclusion: The Matrix of Uncertainty ...................................................................................... 168 Works Cited ................................................................................................................................ 181 4 Introduction: The Myth of Certainty “What history is changes with time and place.” – Michel-Rolph Trouillot, 1995 (25) Despite the authority history and historical documentation have been afforded over the centuries, despite the confidence with which historians tell their tales and readers receive them, despite the seemingly unscalable mountain of absolutism and conviction with which historiographers may preload their explorations of the past, historical certainty is a myth. This myth of certainty is compounded by the matrix of uncertainty one finds when researching and assessing the past—a web of differing perspectives, contradictory accounts, official documentation of questionable veracity, revisions, omissions, imprecisions, and, sometimes, collisions of fact and fiction. In fact, historiographers write with the same tools as writers of fiction, and they can include, exclude, emphasize, or de-emphasize material to create an effect or advocate a viewpoint. In some cases, it’s not a stretch to say that historiography is propaganda, a lie told by those in a position to tell it. 1 Even with the most objective and benevolent intentions, though, history is fluid, revisions are frequently necessary, perspectives shift, and, as the Trouillot quotation in the epigraph above suggests, what may be considered true history in one place may be considered a lie somewhere else. History, then, no longer has the authority it once had—and still claims to have. Writers of historiographic metafiction are acutely aware of this. British authors such as Salman Rushdie, Julian Barnes, and Jeanette Winterson have written novels that have been described as historiographic metafiction, a term coined by Linda Hutcheon in 1989 for a type of 1 In the words of Michel-Rolph Trouillot, “At best, history is a story about power, a story about those who won” (5), and “history [is] one among many types of narratives with no particular distinction except for its pretense of truth” (6, italics mine). This is especially true of historiographies written in the aftermath of colonial occupation, such as the Victorian era. 5 fiction that presents a direct challenge to historiography, or at least is keen to highlight some of its shortcomings and dangers. Hutcheon used the term for works that included “the mixing of historical and fictive representations,” an intense “self-consciousness of the fictionality, the lack of the familiar pretense of transparency, and the calling into question of the factual grounding of history writing” (The Politics 33). This approach applied to fiction depicting colonial times or with postcolonial concerns about the continued relevance and systemic ramifications of colonialism can work as a critique of the oppressors and an examination of the role that incomplete or biased historiographies and other official documentation might have had on persisting perspectives. Victorian-era historiographies and documentation on race and Indigenous people, for instance, surely continued to oppress in print through the 19th Century and beyond just as the colonizers had done on the ground. While it may be a given that writers of historical fiction may feel their versions of history are just as valid as any historiographer’s, writers of postcolonial historiographic metafiction are doing something different, something more, and something very specific: arguing that their historio-fictional hybrids may be even more valid than a historiographer’s, because the historiographer’s carries with it a presumption of certitude that gives it the power of authority it may not deserve. The writer of postcolonial historiographic metafiction, on the other hand, seeks to bring to light the injustices both of the colonials’ aggression and their historiographic creations, as well as advancing long-suppressed narratives of those wronged by colonial aggression. Doing so may not necessarily make all historical writing—either from the field of historiography or the desk of the novelist—definitively provable, but it can limit or push back against the monolithic power of historiography and illuminate some aspects of the colonial past that had been either twisted beyond recognition or completely muffled. By revisiting and 6 reassessing history, writers of these types of novels create contemplations and conversations about the accuracy and definitive authority of historiography; address decades- and centuries-old stereotypes and oppressive attitudes and actions toward minorities, the marginalized, and communities of color and of Indigenous people; and point toward a more equitable future. This intersection of postcolonialism and historiographic metafiction can be seen in novels written over the last several decades by British and Antipodean authors concerning the British colonial era in Australia and its aftermath. Novels from this sub-group of writers of historiographic metafiction fit both Hutcheon’s description of historiographic metafiction and some of the concerns of postcolonial writers and theorists, as they revisit the colonial era and critique or reassess the historiographic writings that helped galvanize pro-colonial perspectives and marginalize and dehumanize the Indigenous communities there. While there is much scholarship on historiographic metafiction and postcolonialism, this volume focuses on the specific nexus of those two concepts and its coalescence in contemporary Australian novels of the colonial and postcolonial experience. The novels covered in this volume—by Peter
Recommended publications
  • 07 July 1980, No 3
    AUSTRALIANA SOCIETY NEWSLETTER 1980/3 July 1980 •• • • • •• • •••: •.:• THE AUSTRALIANA SOCIETY NEWSLETTER ISSN 0156.8019 The Australiana Society P.O. Box A 378 Sydney South NSW 2000 1980/3, July 1980 SOCIETY INFORMATION p. k NOTES AND NEWS P-5 EXHIBITIONS P.7 ARTICLES - John Wade: James Cunningham, Sydney Woodcarver p.10 James Broadbent: The Mint and Hyde Park Barracks P.15 Kevin Fahy: Who was Australia's First Silversmith p.20 Ian Rumsey: A Guide to the Later Works of William Kerr and J. M. Wendt p.22 John Wade: Birds in a Basket p.24 NEW BOOKS P.25 LIST OF ILLUSTRATIONS p.14 OUR CONTRIBUTORS p.28 MEMBERSHIP FORM P.30 Registered for posting as a publication - category B Copyright C 1980 The Australiana Society. All material written or illustrative, credited to an author, is copyright. pfwdaction - aJLbmvt Kzmkaw (02) 816 U46 it Society information NEXT MEETING The next meeting of the Society will be at the Kirribilli Neighbourhood Centre, 16 Fitzroy Street, Kirribilli, at 7-30 pm on Thursday, 7th August, 1980. This will be the Annual General Meeting of the Society when all positions will be declared vacant and new office bearers elected. The positions are President, two Vice-Presidents, Secretary, Treasurer, Editor, and two Committee Members. Nominations will be accepted on the night. The Annual General Meeting will be followed by an AUCTION SALE. All vendors are asked to get there early to ensure that items can be catalogued and be available for inspection by all present. Refreshments will be available at a moderate cost.
    [Show full text]
  • Reflections on Some Recent Australian Novels ELIZABETH WEBBY
    Books and Covers: Reflections on Some Recent Australian Novels ELIZABETH WEBBY For the 2002 Miles Franklin Award, given to the best Australian novel of the year, my fellow judges and I ended up with a short list of five novels. Three happened to come from the same publishing house – Pan Macmillan Australia – and we could not help remarking that much more time and money had been spent on the production of two of the titles than on the third. These two, by leading writers Tim Winton and Richard Flanagan, were hardbacks with full colour dust jackets and superior paper stock. Flanagan’s Gould’s Book of Fish (2001) also featured colour illustrations of the fish painted by Tasmanian convict artist W. B. Gould, the initial inspiration for the novel, at the beginning of each chapter, as well as changes in type colour to reflect the notion that Gould was writing his manuscript in whatever he could find to use as ink. The third book, Joan London’s Gilgamesh (2001), was a first novel, though by an author who had already published two prize- winning collections of short stories. It, however, was published in paperback, with a monochrome and far from eye-catching photographic cover that revealed little about the work’s content. One of the other judges – the former leading Australian publisher Hilary McPhee – was later quoted in a newspaper article on the Award, reflecting on what she described as the “under publishing” of many recent Australian novels. This in turn drew a response from the publisher of another of the short- listed novels, horrified that our reading of the novels submitted for the Miles Franklin Award might have been influenced in any way by a book’s production values.
    [Show full text]
  • An Analysis of Racial Discrimination Potrayed in Peter Carey's Novel
    AN ANALYSIS OF RACIAL DISCRIMINATION POTRAYED IN PETER CAREY’S NOVEL : A LONG WAY FROM HOME A THESIS BY ANNISA FITRI REG.NO 160721002 DEPARTEMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN2019 UNIVERSITAS SUMATERA UTARA AN ANALYSIS OF RACIAL DISCRIMINATION POTRAYED IN PETER CAREY’S NOVEL : A LONG WAY FROM HOME A THESIS BY ANNISA FITRI REG. NO. 160721002 SUPERVISOR CO-SUPERVISOR Dr.Siti Norma Nasution, M.Hum Dra. Diah Rahayu Pratma, M.Pd NIP. 195707201983032001 NIP. 195612141986012001 Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of Sarjana Sastra From Department of English. DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of SarjanaSastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara. The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on. Dean of Faculty of Cultural Studies University of Sumatera Utara Dr. Budi Agustono, M.S. NIP. 19600805 198703 1 001 Board of Examiners Dr.Siti Norma Nasution, M.Hum ____________________ Rahmadsyah Rangkuti,MA.,Ph.D. ____________________ Dra. Hj. Swesana Mardia Lubis, M.Hum ____________________ UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies, University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination. Head, Secretary, Prof. T. SilvanaSinar, M.A., Ph.D. Rahmadsyah Rangkuti, M.A., Ph.D. NIP. 195409161980032003 NIP. 197502092008121002 UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I,ANNISA FITRI, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS.
    [Show full text]
  • Richard Flanagan's the Narrow Road to the Deep North and Matsuo
    Coolabah, No.21, 2017, ISSN 1988-5946, Observatori: Centre d’Estudis Australians / Australian Studies Centre, Universitat de Barcelona Richard Flanagan’s The Narrow Road to the Deep North and Matsuo Basho’s Oku no Hosomichi Yasue Arimitsu Doshisha University [email protected] Copyright©2017 Yasue Arimitsu. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged, in accordance with our Creative Common Licence. Abstract. This paper investigates Australian author Richard Flanagan’s novel, The Narrow Road to the Deep North, and attempts to clarify the reason why Flanagan chose this title, which is linked to the travel writings of the Japanese author Matsuo Basho, for his novel. The novel focuses on the central character’s prisoner of war experience on the Thai-Burma Death Railway during World War II, and depicts the POW camp as well as cruel Japanese behaviour and atrocities in a realistic way. The work seems to provide a postcolonial framework in the sense that there is a colonial and postcolonial relationship between the colonizer, and the colonized. However, in this novel, the colonizer is Eastern, and the colonized is Western, and this fact reverses postcolonial theory which postulates a structure in which the colonizer is usually considered as Western and the colonized, Eastern. Postcolonial theory, thus, cannot be applied in this novel, which attempts to fuse the two opposites, the Western view and the Eastern view, through the work of the Japanese poet. As a result, Flanagan, in writing The Narrow Road to the Deep North, goes beyond being a postcolonial writer to become a writer in a globalizing age.
    [Show full text]
  • William Buelow Gould--Convict Artist in Van Diemen's Land
    PAP~:<:Rs AND PRoCE::8DJNGS OF THE ROYAL Sf.tf"IETY oF TASMANIA, VoLUME 9:3 WILLIAM BUELOW GOULD--CONVICT ARTIST IN VAN DIEMEN'S LAND By !SABELLA MEAD* (With 1 Plate) When I came first to the Launceston Museum I brought William Buelow Gould to Van Diemen's found very many paintings by a convict named Land. He writes of him:- Gould. Very soon visitors were asking me questions about him and I proceeded to read what had been " This poor wretch is another example of the written. It seemed very little. In fact, it amounted baneful effects produced by gambling. He to the notes that had been put together by Mr. has been a pupil of Mulreadys-his true name Henry Allport for an exhibition of Tasmanian art is Holland-his friends residing in Stafford are held in Hobart in 1931. These notes were published chinaware manufacturers. in the " Mercury " newspaper and then put together He got into a gambling set in Liverpool, lost in pamphlet form. Every subsequent writer on his money and to redeem it and being fond Gould has used them. of play he got initiated and became a regular When people said, however," vVhen was he born? member of the set of sharpers. When did he die? Was he marri.ed? Did he leave In the course of his practices he came to any family? Did he paint only in oil?", I had to London and was at one time intimate with reply, "I do not know." I am still not certain when the notorious Thurthill, the murderer, and he was born, but I know when he died.
    [Show full text]
  • Ghosts of Ned Kelly: Peter Carey’S True History and the Myths That Haunt Us
    Ghosts of Ned Kelly: Peter Carey’s True History and the myths that haunt us Marija Pericic Master of Arts School of Communication and Cultural Studies Faculty of Arts The University of Melbourne November 2011 Submitted in total fulfillment of the requirements of the degree of Master of Arts (by Thesis Only). Abstract Ned Kelly has been an emblem of Australian national identity for over 130 years. This thesis examines Peter Carey’s reimagination of the Kelly myth in True History of the Kelly Gang (2000). It considers our continued investment in Ned Kelly and what our interpretations of him reveal about Australian identity. The paper explores how Carey’s departure from the traditional Kelly reveals the underlying anxieties about Australianness and masculinity that existed at the time of the novel’s publication, a time during which Australia was reassessing its colonial history. The first chapter of the paper examines True History’s complication of cultural memory. It argues that by problematising Kelly’s Irish cultural memory, our own cultural memory of Kelly is similarly challenged. The second chapter examines Carey’s construction of Kelly’s Irishness more deeply. It argues that Carey’s Kelly is not the emblem of politicised Irishness based on resistance to imperial Britain common to Kelly narratives. Instead, he is less politically aware and also claims a transnational identity. The third chapter explores how Carey’s Kelly diverges from key aspects of the Australian heroic ideal he is used to represent: hetero-masculinity, mateship and heroic failure. Carey’s most striking divergence comes from his unsettling of gender and sexual codes.
    [Show full text]
  • Alexis Wright's Carpentaria and the Swan Book
    Exchanges: The Interdisciplinary Research Journal Climate Fiction and the Crisis of Imagination: Alexis Wright’s Carpentaria and The Swan Book Chiara Xausa Department of Interpreting and Translation, University of Bologna, Italy Correspondence: [email protected] Peer review: This article has been subject to a Abstract double-blind peer review process This article analyses the representation of environmental crisis and climate crisis in Carpentaria (2006) and The Swan Book (2013) by Indigenous Australian writer Alexis Wright. Building upon the groundbreaking work of environmental humanities scholars such as Heise (2008), Clark (2015), Copyright notice: This Trexler (2015) and Ghosh (2016), who have emphasised the main article is issued under the challenges faced by authors of climate fiction, it considers the novels as an terms of the Creative Commons Attribution entry point to address the climate-related crisis of culture – while License, which permits acknowledging the problematic aspects of reading Indigenous texts as use and redistribution of antidotes to the 'great derangement’ – and the danger of a singular the work provided that the original author and Anthropocene narrative that silences the ‘unevenly universal’ (Nixon, 2011) source are credited. responsibilities and vulnerabilities to environmental harm. Exploring You must give themes such as environmental racism, ecological imperialism, and the slow appropriate credit violence of climate change, it suggests that Alexis Wright’s novels are of (author attribution), utmost importance for global conversations about the Anthropocene and provide a link to the license, and indicate if its literary representations, as they bring the unevenness of environmental changes were made. You and climate crisis to visibility.
    [Show full text]
  • Tasmanian Creativity and Innovation Tasmanian Historical Studies. Volume 8. No 2 (2003): 28-39
    Tasmanian Creativity and Innovation Tasmanian Historical Studies. Volume 8. No 2 (2003): 28-39. Rambling in Overdrive: Travelling Through Tasmanian Literature CA Cranston Two years ago I published an anthology of original and published writings about Tasmania titled Along these lines: From Trowenna to Tasmania1 — a mistake it turns out (as far as the title goes) as readers generally assume that Trowenna is some other place, rather than some other time. The idea was to situate various texts about Tasmania into context, so that when traveling the arterial highways of the heart- shaped island one was presented with stories and histories (time) that live on the sides of the road (place). This paper will address the theme of the conference (‘Originally Tasmanian. Creativity and Innovation in the Island State’) with a methodology similar to that ‘driving’ the anthology. It will examine the relationship between context (the origin) and text (the representation), and by implication, the relationship between natural and symbolic worlds. The ramble, which textually refers to the discursive — ideas, like automobiles, that ‘run about’ — will be accommodated, and as such will occasionally disrupt normal expectations of chronology, the historian’s purview. The motivation for the anthology came out of a need to experience at first hand niggling doubts about the textual construction of the island. I was a migrant so (in terms of the conference theme) I’m not ‘Originally Tasmanian’. I was living in a biotic community I knew nothing about and for which I had no language. I was presented with a textual culture I knew little about, and I was hungry for island stories.
    [Show full text]
  • Time Booksellers September 2020 Latestacquisitions
    Time Booksellers September 2020 Latest Acquisitions Uploaded on our website on September 1st some 467 titles. To view a Larger image click on the actual image then the back arrow. To order a book, click on 'Click here to ORDER' and then the ORDER button. If you wish to continue viewing books, click the back arrow. You will return to the list of books you were viewing. To continue adding books to your order simply repeat on the next book you want. When you have finished viewing or searching click on 'View shopping cart'. Your list of books will be shown. To remove any unwanted books from the shopping cart simply click 'Remove the item'. When satisfied with your order click "Proceed with order" follow the prompts, this takes you to the Books and Collectibles secure ordering page. To search our entire database of books (over 30000 titles), go to our website. www.timebookseller.com.au 111933 A'BECKETT, GILBERT ABBOTT; CRUIKSHANK, GEORGE. The Comic Blackstone. Part II.- of Real Property. Post 12mo; pp. xiv, 92 - 252; engraved title page, text illustrated with one other engraving, bound in contemporary half leather with marbled boards, good copy.London; Published at The Punch Office, 92 Fleet Street; 1856. Click here to Order $50 98279 ADAMS, JOHN D. The Victorian Historical Journal. Index to Volumes. 51 to 60. Issues Nos. 199 to 233 1980 - 1989. Firs Edition; Demy 8vo; pp. xi, 203; original stiff wrapper, minor browning to edges of wrapper, volume numbers written in ink on spine, otherwise a very good copy.
    [Show full text]
  • Historians, Tasmania
    QUEEN VICTORIA MUSEUM AND ART GALLERY CHS 72 THE VON STIEGLITZ COLLECTION Historians, Tasmania INTRODUCTION THE RECORDS 1.von Stieglitz Family Papers 2.Correspondence 3.Financial Records 4.Typescripts 5.Miscellaneous Records 6.Newspaper Cuttings 7.Historical Documents 8.Historical Files 9.Miscellaneous Items 10.Ephemera 11.Photographs OTHER SOURCES INTRODUCTION Karl Rawdon von Stieglitz was born on 19 August 1893 at Evandale, the son of John Charles and Lillian Brooke Vere (nee Stead) von Stieglitz. The first members of his family to come to Van Diemen’s Land were Frederick Lewis von Stieglitz and two of his brothers who arrived in 1829. Henry Lewis, another brother, and the father of John Charles and grandfather of Karl, arrived the following year. John Charles von Stieglitz, after qualifying as a surveyor in Tasmania, moved to Northern Queensland in 1868, where he worked as a surveyor with the Queensland Government, later acquiring properties near Townsville. In 1883, at Townsville he married Mary Mackenzie, who died in 1883. Later he went to England where he married Lillian Stead in London in 1886. On his return to Tasmania he purchased “Andora”, Evandale: the impressive house on the property was built for him in 1888. He was the MHA for Evandale from 1891 to 1903. Karl von Stieglitz visited England with his father during 1913-1914. After his father’s death in 1916, he took possession of “Andora”. He enlisted in the First World War in 1916, but after nearly a year in the AIF (AMC branch) was unable to proceed overseas due to rheumatic fever.
    [Show full text]
  • THOTKG Production Notes Final REVISED FINAL
    SCREEN AUSTRALIA, LA CINEFACTURE and FILM4 Present In association with FILM VICTORIA ASIA FILM INVESTMENT GROUP and MEMENTO FILMS INTERNATIONAL A PORCHLIGHT FILMS and DAYBREAK PICTURES production true history of the Kelly Gang. GEORGE MACKAY ESSIE DAVIS NICHOLAS HOULT ORLANDO SCHWERDT THOMASIN MCKENZIE SEAN KEENAN EARL CAVE MARLON WILLIAMS LOUIS HEWISON with CHARLIE HUNNAM and RUSSELL CROWE Directed by JUSTIN KURZEL Produced by HAL VOGEL, LIZ WATTS JUSTN KURZEL, PAUL RANFORD Screenplay by SHAUN GRANT Based on the Novel by PETER CAREY Executive Producers DAVID AUKIN, VINCENT SHEEHAN, PETER CAREY, DANIEL BATTSEK, SUE BRUCE-SMITH, SAMLAVENDER, EMILIE GEORGES, NAIMA ABED, RAPHAËL PERCHET, BRAD FEINSTEIN, DAVID GROSS, SHAUN GRANT Director of Photography ARI WEGNER ACS Editor NICK FENTON Production Designer KAREN MURPHY Composer JED KURZEL Costume Designer ALICE BABIDGE Sound Designer FRANK LIPSON M.P.S.E. Hair and Make-up Designer KIRSTEN VEYSEY Casting Director NIKKI BARRETT CSA, CGA SHORT SYNOPSIS Inspired by Peter Carey’s Man Booker prize winning novel, Justin Kurzel’s TRUE HISTORY OF THE KELLY GANG shatters the mythology of the notorious icon to reveal the essence behind the Life of Ned KeLLy and force a country to stare back into the ashes of its brutal past. Spanning the younger years of Ned’s Life to the time Leading up to his death, the fiLm expLores the bLurred boundaries between what is bad and what is good, and the motivations for the demise of its hero. Youth and tragedy colLide in the KeLLy Gang, and at the beating heart of this tale is the fractured and powerful Love story between a mother and a son.
    [Show full text]
  • Interview Summary Sheet Project: Memories of Fiction: an Oral History of Readers’ Lives
    Interview Summary Sheet Project: Memories of Fiction: An Oral History of Readers’ Lives Reference No. Interviewee name and title: Highley, Katherine Interviewee DOB and place of birth: August 1938, Ontario Canada Interviewee Occupation: Retired catering business owner Book group(s) attended: Balham Date(s) of recording: 9 January 2015 Location of recording: Interviewee’s home, Balham, London. Interviewer: Dr. Shelley Trower Duration(s): [01:40:11] Summariser: Haley Moyse Fenning Copyright/Clearance: Interviewer/Summariser comments: 00:57:12 Index of Marcel Proust, Remembrance of Things Past shown to interviewer 01:35:34 Penguin postcards shown to interviewer Key themes: Balham, Reading, book groups, libraries, writing, Russian writers, plays, technology. All books and authors mentioned (those discussed for >20 seconds in bold): Lucy Maud Montgomery, Anne of Green Gables Enid Blyton Johanna Spyri, Heidi Jonathan Swift, Gulliver’s Travels Robert Louis Stevenson, Kidnapped Robert Louis Stevenson, Treasure Island Emily Brontë, Wuthering Heights Charlotte Brontë, Jane Eyre Charles Dickens Jean Rhys, Wide Sargasso Sea Agatha Christie Raymond Chandler Dashiell Hammett William Shakespeare Anton Chekhov, Three Sisters Fyodor Mikhail Dostoyevsky, Crime and Punishment Fyodor Mikhail Dostoyevsky, The Brothers Karamazov Leo Tolstoy, War and Peace Leo Tolstoy, Anna Karenina Helen Dunmore, The Siege Aldous Huxley, Brave New World George Orwell, 1984 Margaret Atwood Richard Flanagan, The Narrow Road to the Deep North Natasha Soloman, Mr Rosenblum’s List
    [Show full text]