Cirrus@Austlit

'At first I can’t make out the inscription, even though I’m searching for it. Smooth new bark has grown into the cuts, bulging around the incision, preserving the words on the trunk. I run my hand across the surface, tracing the grooves, feeling the letters: R-E-T-R-I-B-U-T-I-O-N. And below, in slightly larger hand, ‘CAMP’.'(Introduction)

'Stan Grant’s comment on the prolonged booing of the Australian Rules football star Adam Goodes – featured in Daniel Gordon’s new documentary, The Australian Dream (produced by Grant himself) – has attracted much interest, including more than one million hits on one website:

We heard a sound that was very familiar to us. We heard a howl. We heard a howl of humiliation that echoes across two centuries of dispossession, injustice, suffering, and survival. We heard the howl of the Australian dream and it said to us again, ‘You’re not welcome.’' (Introduction)

'It is commonly accepted that the modern European novel begins with Don Quixote. Lionel Trilling went so far as to claim that the entire history of the modern novel could be interpreted as variations on themes set out in Cervantes’s great originating work. And the quality that is usually taken to mark Don Quixote as ‘modern’ is its irony. It is a fiction about fiction. The new sensibility it inaugurated begins in a spirit of mockery, ridiculing the obsolete genre of chivalric romance, insisting on the disconnection between reality and fantasy. As a character observes in The Childhood of Jesus (2013), the first novel in J.M. Coetzee’s trilogy about a precocious orphan named David and his accidental guardian, Simón, the innovation of Don Quixote is to view the world through two sets of eyes: where Quixote sees giants, his loyal sidekick, Sancho Panza, sees only windmills.' (Introduction)

'A young Aboriginal girl wears an abaya because she wants to see how it feels to inhabit someone else’s experience, someone else’s history. An exiled Iraqi musician plays a piano in a shopping centre in suburban Melbourne. Native Americans protesting the construction of a pipeline on their traditional lands are shot at with water cannons and rubber bullets. Countries are lost, sacred sites invaded by careless tourists, lines on maps exclude and dispossess, sacrifices and compromises are made, and individual lives are disfigured by historical circumstance.'(Introduction)

'The Breeding Season is a novel that grapples with big ideas: the connections between death; grief, mortality and the bodily experience of them; how the male gaze preconditions how women (and female animals) are portrayed and described in science and art. It is an ambitious book, and the ideas that drive it are one of its main pleasures, even if they sometimes overburden the narrative.'(Introduction)

'Tasmanian writer Heather Rose’s fifth adult novel, Bruny, about a joint venture between the Chinese, Australian, and Tasmanian governments, is well timed, given current concerns about the covert infiltration of the Chinese Communist Party into Australia’s universities and given Federal MP Andrew Hastie’s recent warning that Australia should approach its relations with China with care, lest its sovereignty be diminished. Rose’s last novel, The Museum of Modern Love, which in 2017 won the Stella Prize and the Christina Stead Prize, is set in New York. In Bruny, Rose returns to Tasmania where her earlier novels are set. Part political thriller, part family saga, part love letter to Tasmania, this is her most ambitious novel to date. Bruny covers a multitude of issues, including family loyalty, betrayal, corruption, environmental protection, and the rise of China.'(Introduction)

'Fortune begins with Napoleon’s triumphant entry into Berlin on 27 October 1806. Does it matter whether the popular image of the emperor astride a magnificent white stallion is an embellishment? ‘Time sullies every truth,’ Lenny Bartulin tells us. History is as much a fiction as this tale of derring-do and dire misfortune heaped on innocent and wicked alike. Coincidence, improbable and highly amusing, propels the narrative in a series of fast-moving, often farcical vignettes that recall Rabelais’s Gargantua and Pantagruel (1532), Voltaire’s Candide (1759), and Joseph Furphy’s classic Australian yarn Such Is Life (1903).'(Introduction)

(Introduction)

'This autobiography by Tim Costello – Baptist minister, lawyer, anti-casino activist, CEO of World Vision Australia for thirteen years – is a clear and straightforward account of his life, free of obvious literary artifice. What Costello has tried to do, he says, is to understand and explain how his memories and experiences, especially of childhood and family life, have made him develop as an adult, often in ways that have become apparent only with maturity.' (Introduction)

'Australians love a bogan in pop culture. Kath & Kim broke ratings records; The Castle regularly tops lists of favourite local films. This sense of affection for the working class becomes more complex off-screen, when Aussie battlers become ‘cashed-up bogans’ and turn Queensland into a Liberal state; when they start threatening middle-class values; and especially when they gain capital and political power. Australian Realness uses the bogan stereotype as a tool to shatter the middle-class drama as both a cultural and theatrical narrative.'(Introduction)