'Since the 1980s, Australian critical and creative writers have employed family history as an adaptive metaphor for challenging hegemonic representations of national descent. Literary and cultural critics, in particular, describe a strong connection between complex literary representations of family in self-reflective and generically hybrid novels and an increasingly inclusive national cultural imaginary. In this article, I investigate how genealogy functions as a trope for reimagining dominant models of cultural representation in Matthew Condon’s The Trout Opera (2007). Condon’s novel exhibits both a degree of self-reflexivity and generic hybridity. However, it provides a counterpoint to what critics have described as the productive potential of filial allegories of nation. In both theme and structure, Condon’s novel dramatises a transition to a multicultural order that reproduces the cultural authority of the white patriarchal order it replaces. Genealogy, in this instance, serves as a quasi-biological metanarrative to naturalise the assimilation of multiple cultural identities and experiences in a settler colonial myth of origin. I employ Edward Said’s (1983) model of filiation and affiliation to examine the thematic and generic affiliations underpinning this dialectical manoeuvre and to illuminate how the discursive effects of genealogy are mediated by the author’s subject position and the genre(s) they employ.' (Publication abstract)
