Cirrus@Austlit

'Alexis Wright has a unique way of appropriating and adapting the English language to an indigenous world vision in the manner in which she reactivates dead metaphors, mixes literal and figurative meanings, and uses elements of nature and artifacts in her similes and comparisons. She thus investigates the way words in English, the language of the colonizer, may have actual impact on her characters, on the world they inhabit, and eventually, on her readers. Her metaphors (from Greek meta-pherein, “carrying from one place to another”) function to displace a Eurocentric world vision and offer an alter/Native connection with the community and Country. This article demonstrates that Wright creates and re-creates an organic world in which everything is unified, and animate—a world which has been severely damaged by colonialism. Revisiting the notions of ownership and Law, she conceives of a way to integrate indigenous thought within the language of the colonizer in writing about the land, the sea, and the sky, a language she transforms into an expression of Country, both tangible and holy.'

Source: Publisher's blurb.

'In his postmodern novel Homesickness (1980), Australian novelist Murray Bail depicts a group of Australian tourists on a package tour through diverse countries—including an unnamed African country, the UK and Ecuador—and cities of London, New York and Moscow. In addressing the archetype of the tourist, for which the mobile Australian is judged suitably representative, Bail explores the various perspectives of his diverse group in their picaresque encounters with unfamiliar, Other landscapes and people. In particular he focusses on the nature of their descriptions of such encounters in an increasingly virtual or curated world of global tourism (its museums, guides, exhibitions). This is seen in the dialogic, arguably appropriating, acts of naming, identifying, epistolary accounts (notably in postcards) and also photography, including by the group’s tellingly blind photographer. From a postcolonial perspective, Bail’s tourist group can be considered akin to the settler, albeit in a global situation in which places visited and their people are viewed as Other. This article primarily addresses Bail’s examination of the nature of human apprehension of unfamiliar and familiar worlds through the binaries of distance/closeness, as well as though ratiocinative, visual, classifying, collecting impulses as distinct from a more chaotic, random indeterminate acceptance. A central anchoring, comparative reference point is the familiar (the Australian home, landscape, vegetation and its various stereotypes including in unfamiliar places) and the alternative counter viewpoints of non-travellers. Consideration is given to themes concerning consciousness and the visual, including perspectives of philosopher Maurice Blanchot and postmodern theorist Ihab Hassan.'

Source: Abstract.