Tyne Daile Sumner Tyne Daile Sumner i(11581141 works by)
Gender: Female
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Works By

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1 The Politics of Disgust : Form and Feeling in Christos Tsiolkas’s Merciless Gods Keyvan Allahyari , Tyne Daile Sumner , 2021 single work criticism
— Appears in: Antipodes , vol. 35 no. 1 2021; (p. 36-52)

'Merciless Gods (2014) is Christos Tsiolkas’s only collection of short stories and arguably his least discussed work to date. Comprising stories that Tsiolkas published in various literary magazines and anthologies as early as 1995, Merciless Gods is persistent in its fixation on the relationship between queer desire, identity, and disgust. Throughout the collection, characters are frequently exposed to the bodily discharges that most of us tend to dissociate from, cringe at, and conceal from one another: sweat, semen, odor, and excrement. Characters also blurt out vile homophobic and racist bigotry in impulsive overflows of speech that bring about release and disgust at the same time. In this article, we read the spasmic (in all its forms) as a liminal space of joy and repulsion that constitutes what we call Tsiolkas’s politics of disgust. We argue that disgust is crucial to Tsiolkas’s deeply humanist and densely historical project, best exemplified in Merciless Gods in the ways that form—short fiction and the collection—arouses distinct feelings in readers that they cannot escape and that Tsiolkas’s work refuses to gloss over. In this way, Merciless Gods testifies to Tsiolkas’s compulsive return to fundamental questions of justice and distribution of misery and well-being.' (Publication abstract)

1 Identity Is Cruel : Capital, Gimmick and Surveillance in the Australian Postdiasporic Short Story Keyvan Allahyari , Tyne Daile Sumner , 2021 single work criticism
— Appears in: Australian Humanities Review , November no. 69 2021;
'If we were to take recent controversies in the Australian literary scene as an indication of its current priorities, we would—at least on one pronounced level—encounter what can be generally called an ethics of inclusivity for diasporic writers. Regardless of the degrees of sophistication of these debates, their participants appeal to the primacy of diasporic identity—its sheer visibility—as a necessary part of the constitution and imaginary of contemporary literature vis-à-vis the nation’s demographic composition. This call for equity of representation is frequently paired with an emphasis on the labour of diasporic writers in surmounting obstacles for publishing narratives about multicultural life, and the structural biases of literary institutions, cultural awards and (white) critics against diasporic writing. The shared assumption here is that there exists an overlap of inequalities between social and literary worlds. What often remains a moot question is the extent to which disseminating diasporic representation is aligned with models of consumption prediction that are predicated on a direct relationship between institutionally fashionable terms such as diversity and inclusion, and maximising business performance schemes. As Sara Ahmed has observed, diversity is associated with conditions of work which are already promoted by organisations. ‘The story of diversity’, she writes, ‘thus becomes a story of diversity’s inclusion into the terms of an institution’ (9).'

 (Introduction)

1 Mosaically Speaking : Pieces of Lionel Fogarty’s Poetics Tyne Daile Sumner , 2019 single work criticism
— Appears in: Cordite Poetry Review , 1 November no. 93 2019;
1 3 y separately published work icon Lionel Fogarty : Selected Poems 1980-2017 Lionel Fogarty , Philip Morrissey (editor), Tyne Daile Sumner (editor), Prahran : Re.Press , 2017 11581168 2017 selected work poetry
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