Cirrus@Austlit

'In a famous – perhaps too famous – proclamation, the late historian Patrick O’Farrell (1933–2003) declared that the ‘distinctive Australian identity was not born in the bush, nor at Anzac Cove: these were merely situations for its expression. No; it was born in Irishness protesting against the extremes of Englishness’ (O’Farrell 12). There has been a tradition of thinking about the Irish in Australia as the grit in the oyster, a recalcitrant internal other that allows Australia to emerge as a national pearl distinct from Britain. Yet, arguably, the separatism-assimilation binary, and the presumptions about nation-building upon which it is built, has not received sufficient critical treatment in recent decades as theories of diaspora, settler colonialism and cultural encounter have developed. Historiography about the Irish in Australia, over which O’Farrell’s presence still dominates, has ebbed in recent years as the attention has turned to Indigenous histories and to the waves of migration that have occurred since the Second World War.[^1] The fractious yet formative role of the Irish presence has tended to be papered over by terms like ‘Anglo-Celtic’ or ‘British’ Australia. Indeed, if Noel Ignatieff told the story of ‘how the Irish became white’ in the United States, perhaps in Australia the equivalent narrative is ‘how the Irish became British’, an identification which, as Elizabeth Malcolm recently pointed out, is remarkably ill-fitting: ‘Catholic Irish people do not usually consider themselves British and nor do most British people think of the Irish as British either. Australian usage of the category “British” to include the Catholic Irish is unusual’ (Malcolm 201).'

Source: Abstract.

'This article considers some of the reasons why Irish-Australian literature has not been a significant trajectory within Australian literary studies and what it might offer if it were. Since the colonial era, Irish difference has been both recalcitrant and assimilable but, in the wake of Federation in 1901, Australian literature was concerned with the production of a national tradition and Irishness served to differentiate Australianness from Britishness. This article is concerned, then, with retrieving Irish difference. It extends my longstanding interest in Indigenous Australian literatures by analysing the representation of Irish Australians in Indigenous Australian writing, particularly moments of solidarity between the Irish and Indigenous Australians. After looking briefly at representations of colonial relations between the Irish and Aboriginal Australians in Jack Davis’ 1979 play Kullark and Eric Willmot’s historical novel Pemulwuy (1989), this article offers a reading of a minor scene in Alexis Wright’s Miles Franklin Literary Award-winning novel Carpentaria, published in 2006, as a way of exploring such representations in the contemporary era. This article is not trying to generate a new category for the field of Australian literary studies. Rather, it follows a seam within the Australian literary tradition that imagines generative forms of allegiance that may complicate existing conceptions of the Australian literary field.'

Source: Abstract.

'Opening with Christos Tsiolkas’s critique of multiculturalism, this essay considers the theory and practice of Irish-Australian literature in relation to questions of ethnicity and transnationalism. By comparing Irish-Australian to Irish-American literature and discussing ways in which theology becomes transposed into anthropology, it engages with problems of how to define such hybrid traditions and how they intersect (or conflict) with national narratives within a larger discursive domain. Australian authors such as Gerald Murnane, Thomas Keneally and Rosa Praed are compared to Irish authors based in London such as Oscar Wilde, with the essay arguing that Irish-Australian literature should be understood as an inherently relational rather than identitarian term. It also considers how Irish-Australian literature impacted upon racial politics across a global axis in the nineteenth century through John Boyle O’Reilly’s friendship with Frederick Douglass.'

Source: Abstract.

'This essay examines intellectual exchanges between early twentieth-century Australian literary nationalists and the Irish literary revival, with attention to the transnational and imperial differences in between. It traces the travel narratives of Vance Palmer, Esmonde Higgins and Miles Franklin in Ireland during the Irish War of Independence, their performance of New World settler ‘selfhood’ in Ireland, and their encounters with Irish literary contacts including George William Russell (Æ) and Darrell Figgis. In historicising these encounters in relation to settler-colonial ambivalence, it argues that Australian literary travel narratives of revolutionary Ireland were constituted around multiple displacements of meaning between Irish nationalist and Australian settler-nativist constructions of autochthony. As urban intellectual milieux outside the networks of Irish ethnic associationalism, these literary connections offer a culturally hybrid location in which to re-examine the play of overdetermined meanings around Ireland in early interwar (‘White’) Australia. Situated in relation to Irish historical contexts external to Australian nationalist narratives, these dislocations of meaning illuminate an excess of Irelands in settler radical political imaginaries beyond stable constructions of nation or place.'

Source: Publisher's blurb.

'This paper documents the literary origins of the notion of Irishness; why it mattered, and why it persists as a significant discourse running through Australian writing. Existing from the beginnings of creative output in Australia, the multi-faceted Irish condition is present as a literary trope from the start of white settlement and has never permanently left Australian writing. The reasons for this are many and complex. This paper presents a broad survey of the key texts in this process, examining how the nineteenth-century Irish community with both its ethnic and denominationally diasporic cultural outlook, positioned itself within Australia’s rapidly evolving literary consumer culture, and how the notion of Irishness was creatively sustained into the present century. Conclusions reached suggest that while important social and economic factors constrained the development of a sustained, locally produced Irish-Australian writing, persistent cultural and ethnic conditions fostered its on-going presence and later more overt emergence in the twentieth century as a persistent strain in Australian literary production, one that is likely to remain into the future.'

Source: Publisher's blurb.

'This essay surveys the viewpoints of selected Irish-Australian writers: the anthologists Bill Wannan, Vincent Woods and Colleen Burke; then Bernard O’Dowd, Brian Elliott, Tom Inglis Moore, Gerard Windsor, Vincent Buckley, Frank Molloy, Dymphna Lonergan and Patrick Morgan. These writers provide evidence that an ocean of Irish-Australian literature exists; that the literary forms of ballad and song were important to earlier generations; and several of them claim that Irish-Australian writers have played a major role in the development of Australian literature. Notes on publications in the Irish language and on the Irish-Scots link are included. The selected bibliographic notes in this essay contribute to the systematic study needed to reverse the neglect of Irish-Australian literature in major forums.'

Source: Abstract.

'What constitutes Irish-Australian literature – if such a category exists – is by no means clear. This essay seeks to map the field and identify which Australian writers might be included. It does so while questioning how such a taxonomy could be constructed and how research on this under-explored area might proceed. Not only is the potential field large and amorphous, but it also presents formidable issues of ‘identity politics’. Because such study is performed in an era when identities are understood to be unstable and discontinuous, the article argues for an inclusive approach, noting that what constitutes ‘Irishness’ is internally contested. It asks questions about how émigré writers and their descendants and those who draw on the political and historical matter of Ireland have transformed such legacies. It also considers how those few writers who made the reverse journey engage with Irish literature and culture. The article speculates that such a study may potentially reconfigure understanding of the Australian literary tradition and the process of naturalising ‘the nation’, or at least complicate that narrative.'

Source: Abstract.

'This article examines a range of colonial Australian Irish bushranger narratives in terms of their investments in revolutionary republicanism, arguing that these become increasingly contested and compromised over time. Beginning with the anonymously published novel Rebel Convicts (1858), it looks at how the fate of transported Irish revolutionaries is imagined in relation to colonial settlement and the convict system. It then turns to Ned Kelly’s Jerilderie Letter (c. 1879), highlighting Kelly’s rhetoric of resistance and mapping his affinities with Irish American republicanism. John Boyle O’Reilly was a Fenian activist, transported to Western Australia in 1867. His novel Moondyne (1878, 1879), rather than unleashing an Irish revolutionary political agenda, is based instead on an English-Catholic bushranger, and its interest in republicanism is in any case displaced from its Australian setting. Ned Kelly’s execution in 1880 gave rise to a new wave of popular narratives, including James Skipp Borlase’s The Iron-Clad Bushranger (1881), which fictionalises Kelly’s career – embroiling him in Irish Fenian plots – and recasts his political affiliations as criminal characteristics. Rolf Boldrewood’s Robbery Under Arms (1882–3) was also published in the wake of the Kelly saga but is notable for its political conservatism, stripping its Irish-Catholic bushrangers of their revolutionary potential to better serve the interests of a powerful pastoral elite. This conservatism is both challenged and magnified in Rosa Praed’s Outlaw and Lawmaker (1893), which celebrates the career of John Boyle O’Reilly while also re-directing his political radicalism into romance. The article concludes that the revolutionary figure of the Irish bushranger is gradually divorced from any radical agency and relegated to a remote chapter of colonial Australia’s history.'

Source: Abstract.

'The Central Highlands of Tasmania is an unlikely antipodes of Irish writing, but it is a region that has complex representations by exiled and immigrant Irish writers. The picturesque landscape of the Highlands in the Young Irelander John Mitchel’s Jail Journal (1856) is well known; less well known is the writing of William Moore Ferrar, born in Dublin in 1823 and who emigrated to New South Wales, then Van Diemen’s Land, as a free settler in 1843. His novel Artabanzanus: The Demon of the Great Lake: An Allegorical Romance of Tasmania: Arranged from the Diary of the Late Oliver Ubertus (1896) represents a vision of an ideal surface world and a hellish underground. Dedicated to Arthur James Balfour, and dramatising the issue of Irish home rule, Ferrar’s novel is an eccentric but multi-faceted instance of the Irish-Tasmanian imaginary.'

Source: Abstract.

'This article surveys the history of Irish-Australian autobiography and memoir as a form of writing particularly well adapted to exploring the tensions and compromises of Irish-Australian identity. It draws on selected works published from the early colonial period to the end of the twentieth century written by men and women across a wide social spectrum, from archbishops, politicians and academics to bushrangers, barmaids and poets. It focuses on the process of self-construction at work in the writing, with particular attention to the ways in which contemporaneous Irish stereotypes are invoked, often rejected, and sometimes embraced as part of this process. The tentative suggestion is made that a balanced appreciation of this form of writing may have been hindered by a bias evident in much recent Irish-Australian historiography towards interpreting the historical relationship between the Irish diaspora and the dominant Australian culture in conflictual terms, and that the strong impulse towards friendly assimilation, an equally important part of the historical record, deserves equal recognition.'

Source: Publisher's blurb.

'The transnational movement between Ireland and Australia of school periodicals, pedagogical ideas and educational theories are writ large in histories of colonial education in Australia; from the Irish National School Readers that circulated in the colonies, to the transference of the Irish National Board’s Model School system from Dublin to Melbourne. Less attention has been paid, however, to the specific brand of Irish Protestant colonial thinking that often colours and motivates this transnational movement, as well as the educational ideologies and literature that were shaped by it in Australia. This essay takes Irish-born Hannah Villiers Boyd’s educational treatise, Letters on Education (1848), as its core focus. Recognised by scholars as one of the earliest educational treatises in Australia, and an important text in the cultural history of women's social reform and education, the text has been analysed for its formal and generic features as a nineteenth-century parenting manual. This essay adds another dimension to this line of thinking. By paying close attention to the text’s engagement with Irish writer and educationist, Maria Edgeworth, as well as other Irish writers and political figures (Carleton, O’Connell), this essay will explore how Boyd's familial and socio-cultural Irish background modulates the text's approach to education, as well as shapes its utopian projections of a future Australian nation. As such, this essay will demonstrate the Irish intersections that potentially shape in significant ways the text's educational ideologies and, more specifically, illustrate how Boyd's didactic perspectives on rural home education for young girls in Australia are both inflected and moulded by Irish Protestant colonial politics and culture.'

Source: Abstract.

'Gerald Murnane is the pre-eminent chronicler of Irish-Australian Catholic male youth: its spiritual curiosity, onanistic fantasies and inevitable guilt, and the irresistible attraction to the arcane and the ceremonial. The specifically Irish-Catholic content in his early novels – principally Tamarisk Row (1974) and A Lifetime on Clouds (1976), both set in the drought-stricken plains of rural Victoria – turns on Murnane’s deliberate approximations between narrative and autobiography, sufficiently non-identical to bear plausible deniability and which lend the narration a sardonic and amused tone. His later novel Inland (1988) also has its protagonist meditating copiously on his Irish Catholic upbringing and its effects on his understanding of faith, his capacity to enter into romantic relationships, and his sense of the world. The narrative is channelled through a geography of the grasslands of Melbourne County, refracted by meditations on the Hungarian Alföld (an exclave of the great Eurasian steppe) and the North American prairie. This displacement of Irish-Australia by way of Hungary and the United States comprises a deft method by which to examine masculine Australian Irish Catholicity out in plain sight, where geomorphology, ecology, and matters of national identity illuminate the meridians of the Irish-Australian Catholic diaspora.'

Source: Abstract.

'Perhaps no Australian writer or thinker has probed the condition of Irishness in Australia more extensively than the poet-critic Vincent Buckley (1925-88). His first memoir Cutting Green Hay (1983) considers how his own family negotiated their Irish heritage, often through modes of strategic amnesia in which Irish cultural modes mutate into Australian identity. This, for him, results in a cultural deprivation that he seeks to remedy in himself, not least through many extended visits to Ireland, his ‘source country’ or ‘imagination’s home’. Yet in Memory Ireland (1985) and other essays, he offers a scarifying analysis of contemporary Irish society also marked by a loss of memory, which he ascribes in this case to the post-colonial torpor and imaginative enervation of independent Ireland. So Buckley seeks to reveal the scotomisation, or mental blind spots, that characterise both Irish-Australia and modern Ireland. Drawing mainly on prose works, including archives and unpublished sources, this essay seeks to bring to the fore the question of colonialism in Buckley’s reflections on Irishness, attentive to some of his own blind spots. It considers his deep debt to Yeats, but also the impossibility for Buckley, as he saw it, to follow Yeats’s example in creating a national imaginary that unified settler and native. This impacts Buckley’s sense of how an artist achieves success in the international literary field, but also maps back onto the question of setter-colonialism in Australia. I argue that Indigenous Australia shadows his thinking about Irish colonialism, sometimes explicitly, as in the poem ‘Gaeltacht’ from The Pattern (1979), but in a more fraught and culpable way than simply through assertions of shared victimhood. If the conquest and dispossession of Gaelic Ireland in the sixteenth and seventeenth centuries mirrors that of Indigenous Australia in the nineteenth and twentieth, it also deflects, redirects and sublimates it for an Australian poet.The Irish have certainly been historical victims of British colonialism, but they have also been beneficiaries of settler-colonialism in Australia, as his poem ‘Dick Donnelly’, the Irish-named Aboriginal man, ‘the last songman of his people’, poignantly attests.'

Source: Abstract.