The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.
'This essay seeks to boost Frank Moorhouse’s credentials as a commentator on class consciousness and labour politics, focusing on the oblique representation of labor tension in The Electrical Experience (1974) and addressing thematic and intertextual connections with Cold Light (2011), the third in the so-called 'Edith Trilogy'. Close reading reveals the lurking presence of labour tension in The Electrical Experience, but rather than it being manifested through a direct collision of social classes, it emerges primarily from the inner tensions and contradictions of its protagonist, the soft drink manufacturer George McDowell. Primarily set in the 1920s-30s, when workers’ rights had more prominence on the political Left than in Moorhouse’s immediate cultural scene in the early 1970s, the stories repeatedly show McDowell in revolt against himself, even as he remains oblivious to his workers. The indirect political insight Moorhouse offers on a more local – even parochial – scale in this fragmented work of historical fiction is in some respects deeper and more nuanced than that in the full-scale historical novel Cold Light, which engages directly with communist agitation in 1950s Australia.' (Publication abstract)
'The Australian government’s responses to the September 11 attacks introduced a new theme into Australian literature. Novels such as Andrew McGahan’s Underground and Richard Flanagan’s The Unknown Terrorist sought to address, in narrative form, threats to the rule of law that arose from a rapidly emerging Western security state. Drawing on the political and juridical framework of liberalism, these novels attacked an Australian political and social milieu that justified the expansion of sovereign power. This essay argues that the liberal framework informing these novels misrecognises the structure of power post-9/11: insofar as it posits an absolute dichotomy between law and sovereignty, the language of liberalism prevents us from thinking right and power concomitantly. This essay reads Manfred Jurgensen’s novel The American Brother through the political philosophy of Roberto Esposito. In doing so, it suggests that a biopolitical account of the post-9/11 security state, in the form of Esposito’s paradigm of immunisation, enables not only a coherent epistemology of contemporary sovereign power, but also opens up a critical approach to literature that thinks outside the limitations of liberal discourse.' (Publication abstract)
