Cirrus@Austlit

(Introduction)

'So often literature provides us with metaphors and allusions to enrich our lives, though sometimes, just ever so occasionally, an event occurs in the outside world that offers up an intriguing analogy to revive a text that has been forgotten. Despite winning the Miles Franklin Literary Award in 1970, A Horse of Air and its author, Dal Stivens, have faced an extinction not dissimilar to the object of the novel’s allegorical search: the Night Parrot. The rediscovery of the latter in 2013 in far Western Queensland presents an intriguing analogy for the revitalisation of the former’s important work. Last definitively seen alive in the 1870s, the Night Parrot remained for over one hundred years alluring yet unfindable, akin to a flying thylacine, forever fluttering beyond reach: it was the ‘white whale of the bird-watching world’ (Carvan); the ‘avian nut that refuses to crack’ (Olsen 1). Likewise, although Dal Stivens was once one of Australia’s most visible and prolific (albeit enigmatic) writers, since the 1987 republication of A Horse of Air, and his subsequent death in 1997, both the author and his novel have slowly receded into the obscurity of the remote interior. Despite inspiring writers, poets, filmmakers and naturalists alike, Stivens’s influential depiction of the Night Parrot remains critically and popularly underappreciated. This paper proposes to use the rediscovery of the Night Parrot in 2013 as the impetus to revive Stivens’s finest work by examining his textual encounter with this inscrutable bird figure.' (Publication abstract)

'Despite having been named the ‘poet laureate’ of Aboriginal literature by author Alexis Wright and the ‘greatest living poet in Australia’ by poet John Kinsella, Lionel Fogarty’s poetry, previously published by small independent presses, has remained both critically and popularly underappreciated. I count myself as a relative newcomer to Fogarty’s work, but with the weight of his body of work growing, the publication of his fourteenth collection, Harvest Lingo by Giramondo, presents the perfect opportunity to become acquainted with Fogarty’s fiery and yet sophisticated poetics. As Fogarty reminds us in this collection, being a poet, let alone a black protest poet in Australia, is bloody ‘Hard Work’ (4). However, for those readers who are ready to roll up their sleeves, this collection offers a rich harvest indeed: lingo that unearths a sense of global solidarity through transit across cultural and linguistic boundaries, disrupting underlying assumptions that form the solid ground of the English language in the process.' (Introduction)

'Embracing the environmental, eco-materialist and planetary turn in the humanities, prompted by the Anthropocene, this paper offers a reading of Voss as an environmental and planetary epic. The unique environmental qualities of Patrick White’s writing, and his later-life activism, have perhaps suffered due to a focus on the psychological and spiritual aspects of his biography. Reading Voss as a journey ‘into the dust’ (213), away from colonial Sydney, and associated Eurocentric forms, this paper argues that the very material and elemental nature of the Australian environment emerges as an agentive and subversive presence, suggested by the insidiously small, yet itinerant dust. White’s journey inland, into the ‘kingdom of dust’ (297), shatters, fragments, and erodes the stable, the terran and the fixed, but through that very reduction, the story becomes engrained in elemental and planetary forces. The disruptive aesthetics, connected to the drying of the material environment and the desert, immerses the reader in an errant environment in motion. This paper argues that the epic qualities of the story are imparted through this very contact with the environment, the elemental and the planetary, positioning Voss as a planetary epic.' (Publication abstract) 

 (Introduction)