Cirrus@Austlit

'The short stories in Christos Tsiolkas’s Merciless Gods (2014) offer perhaps his most complete and comprehensive portrait of the contemporary world. This assertion goes against conventional wisdom, especially in postcolonial literature, where the novel has long been a privileged form of speaking truth from the periphery to the centre, and in Australian literature, where what Timothy Brennan calls the “national longing for form” has typically dictated generic decisions. Tsiolkas achieves a greater coverage through fragmentation than through an ambitious total novel, particularly because of the juxtaposition of shocking detail and a fundamental and wholesome valuation of life. This valuation, however, is explicable by queer and post-political theorists such as Judith Butler, Wendy Brown and Jasbir Puar, and does not try to reconstitute a world anterior to difference and globalisation. Tsiolkas, while shocking the reader, also provides a conjectural affirmation of a plural Australia.' (Publication abstract)

'From child prostitutes in Prague to wogs in suburban Melbourne, Christos Tsiolkas's fiction is full of characters defined by the desire for, discrimination against, and addiction to some form of Other. His work traces a libidinal economy that thrives where utopian ideals such as communism, cosmopolitanism and multiculturalism have failed to unify people around anything other than consumption. With particular attention to Dead Europe (2005) and Merciless Gods (2014), this article considers Tsiolkas's work alongside that of Roberto Bolaño, particularly 2666 (2004). Tsiolkas and Bolaño unearth the intersections between desire and violence across cultural, geopolitical and temporal borders. Their work offends because it implicates the subject in violence that is neither sensational nor exceptional. This violence is ongoing and without a clearly identifiable agent. Sometimes set against historical violence, such as the Holocaust, 9/11 or white Australian colonialism, it emerges in the backyard barbecues, drug-fuelled house parties and porn theatres that Tsiolkas's characters populate. This article uses Lacanian psychoanalysis to examine how Tsiolkas's work redistributes the violence from the pathological and geopolitical peripheries to the centre, disrupting Australian narratives of innocence and isolation and bringing together North and South, the Old World and the New.' (Publication abstract)

'The politico-historical settings of Christos Tsiolkas’s novels The Jesus Man (1999) and The Slap (2008) compromise the expressions of self manifested by his transcultural characters. The failure of Howard-era multicultural policies combines with the economic rationalising of the culture wars and the xenophobic hysteria spread by Pauline Hanson’s One Nation Party to haunt those marginalised by the Eurocentricity of Australian culture. As a result, the transcultural characters of The Jesus Man are forced to externalise an augmented version of their performative selves, compromised as they are by such cultural homogenisation; in The Slap, the failure of neoliberal multicultural policies manifests in the anxieties experienced by the characters. The characters of both novels are forced to confront these sociocultural, historical and psychological conflicts in a space laden with historical tensions, cultural erasure and political uncertainty. This article argues that Tsiolkas’s real-world fictional settings problematise the performance of his multicultural characters in ways that unsettle hegemonic constructions of Australian culture. In particular, I contend that from this tension, a blurred space emerges that offers a way forward for transcultural subjects: it is a liminal space in which cultural syncretism is encouraged, cultural performance is delimited, and hegemonic cultural norms are mitigated.'(Publication abstract)

'Christos Tsiolkas’s Gothic novel Dead Europe (2005) has been criticised by some for its offensive representation of Jewish characters, and lauded by others as an unflinching interrogation of historical and contemporary anti-Semitism. The Gothic genre more broadly has a difficult history of rendering the marginalised Other as monstrous, and while contemporary writers often experiment with Gothic tropes to challenge and disrupt such representations, as a non-Jewish writer, Tsiolkas uses the figure of the monstrous Jew in problematic ways. This article analyses Dead Europe’s use of the Gothic grotesque in depicting Jewish characters, arguing that the novel engages in an ethical critique of anti-Semitic stereotypes using the grotesque’s ambivalence, overdetermination and ability to compel attention through shock and disgust.' (Publication abstract)

'Dead Europe (2005) is a book about the harrowing of Isaac. The anti-Semitic logics of the novel inflect the familial curse that proceeds in the wake of Elias’s death, and the curse that haunts Isaac offers a re-emergence of a murderous anti-Semitic past. Yet this moment also confronts the critical reader with a choice: to embrace this supernatural motif of the curse or to shun it as psychopathology. Favouring the former, this article draws on the resources of Lacanian psychoanalysis and post-Marxist theory to analyse how this curse remains an exemplary trope. The argument will trace how Isaac is harrowed by the curse and, therein, ask what it means for Isaac to be harrowed. By looking again at the construction of the curse in Dead Europe, this article will examine some of the critical ideas that are uncovered by the novel’s supernaturalism.' (Publication abstract)

'Christos Tsiolkas has occupied an increasingly central position in the contemporary Australian literary and cultural imagination. Starting with his novel Loaded (1995), Tsiolkas’s fiction engages with subject matter that speaks to his personal experience as both a gay man of Greek heritage and a writer concerned with larger social and political issues affecting a multicultural Australia. Examples of recurring themes in Tsiolkas’s fiction include the irreconcilability of Greek and Australian identity, racial and class intolerance, emergent sexual consciousness, and the conflict between familial obligation and individual expression. In contrast to these arguably “reader-friendly” themes—that is, themes that are accessible to a wide and non-specialist audience—Tsiolkas’s early novels (Loaded; The Jesus Man, 1999; and Dead Europe, 2005) possess a subversive edge in how they explore obscenity and social transgression. However, the publication of Tsiolkas’s fourth novel, The Slap (2008), signalled a new phase in his career, in which the formal rawness of his prose and his uncompromising representation of extreme corporeal states gave way to a simplicity in his written expression that mirrored the growing topicality of his subject matter. This change in purpose mirrors the shift in both the reception of Tsiolkas the writer and of his fiction. Prior to The Slap, Tsiolkas was viewed as a “cult figure” who, though of some critical interest, neither captivated the attention of a mainstream audience nor was celebrated by the literary establishment as an “Australian” writer whose fiction reflected purportedly national interests. However, the critical and commercial success of The Slap has ensured that both Tsiolkas and his subsequent fiction have been (re)cast as pivotal sites of commentary on contemporary Australian class and racial politics. Put another way, Tsiolkas’s “increasing visibility … as a public intellectual, if not a literary celebrity”, has resulted in changes to the form, language and subject matter of his novels, and also the ways critics receive and understand his career.' (Publication abstract)

'The 2017 marriage equality referendum was conservative in reach—refuting the entrenched marginalisation of queer existence, a challenge to conflations of happiness (in fact, the ultimate “happily ever after”—marriage) and heteronormativity. The marriage equality debate was an ugly realisation of those discourses of exclusion and prejudice implicated in many Western values, and in Australian national identity broadly. In thinking through these issues, I return to Christos Tsiolkas’s novel Loaded (1995) for its queering of “happily ever after” myths via film referents. Ari’s paradoxical relationship to romantic tenderness is evident in his frequent first-person allusions to various films. A close reading of Loaded and the film’s allusions expose both the operation of exclusion and an individual’s response to that exclusion prior to marriage equality. Loaded invites reflection on these complexities in a call for the universal right to romantic happiness through its deployment of filmic tropes.' (Publication abstract)

'This article considers the way in which elite swimming in Australia constitutes a system of identity to frame the privileging of heterosexuality, able-bodiedness and hypermasculinity in Christos Tsiolkas’s novel Barracuda (2013) and its television adaptation (2016). It argues that the two versions of the story offer very different sporting narratives: a migrant, working-class, gay body in the novel, the complexity of which is never fully realised on screen. The article shows how the television adaptation of Barracuda reshapes the novel’s atemporal structure into a linear progression of rise, fall and redemption, and that under these narrative conditions Daniel Kelly’s body becomes simply object, rather than embracing the subjecthood he is permitted in the novel. The effect is one of compulsory normalisation and erasure: of Danny’s queer body, of Dennis’s and Martin’s damaged bodies, and of the consequences of Danny’s criminal act. This process parallels similar attitudes towards Australia’s most elite athletes and the public ownership of their body narratives.' (Publication abstract)

'The Communist Party of Australia (CPA) existed from 1920 to 1991 and was the largest party to the left of the Australian Labor Party. Forged in the wake of the Bolshevik Revolution in 1917, it was the purveyor of worldwide socialist revolution in its early years, Marxism-Leninism from the 1930s to the 1960s, and a proto-Eurocommunism from the late 1960s onwards. The CPA had only one MP, Fred Paterson in Queensland between 1944 and 1950, but its political and social influence spread far beyond the electoral stage. The party commanded significant influence in the trade unions, and its members were involved in nearly every social movement of the 20th century, including movements surrounding Aboriginal rights, women’s liberation, anti-fascism, green bans, peace and nuclear disarmament. The party also drew in many artists, writers and cultural figures over the years, even if the official communist movement emanating from Moscow often had more prescriptive views on art and literature.'  (Introduction)