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'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)
