Cirrus@Austlit

'In Life & Times of Michael K, J. M. Coetzee appears thoroughly persuaded by those anthropological theories—still emerging at the time of the novel's publication—that were reconceiving hunter-gatherer bands as happier, healthier, better-fed, more leisured, and less socially stratified communities than the permanent settlements of agriculturalists. By depicting Michael as a nutritionally and spiritually satisfied forager upon the karoo and by figuring the labor camps in which he is intermittently confined as epitomes of the Neolithic (and subsequent) grain state, Coetzee endorses those intellectual currents that have now supplanted the optimistic narrative of the Agricultural Revolution with that of the Agricultural Trap. In short, the novel figures the adoption of farming as a hedonic catastrophe for the great mass of humankind. Thus, critics who register their disappointment with the novel's supposed political quietism have failed to grasp the text's longue durée concerns or to realize that Michael refuses to aid the guerillas because their victory would only impose upon him a different version of agro-culture. By the same token, many critics' insistence that Michael is a vaguely allegorical figure offering some unrealizable alternative lifeway is refined into sharper focus by the revelation of his anthropological specificity.' 

(Publication abstract)

'In this article, I make the case for Noongar novelist Kim Scott's That Deadman Dance (2010) to be seen as an exemplar of Aboriginal-centered literary imaginings of reconciliation based primarily on adherence to traditional Laws rather than the state's limited recognition of native title. The novel decenters settler contact narratives through its depiction of Noongar welcoming protocols, thus affirming pre-colonial Aboriginal sovereignty. Furthermore, I contend that, through the novel's culminating scene in which settlers fail to understand protagonist Bobby Wabalanginy's ceremonial dance, which calls for justice through truth-telling and peace-making, Scott narrativizes the settler nation's inability to understand or accept terms of apology, forgiveness, and reconciliation derived from Indigenous cultural and political beliefs. Recognizing That Deadman Dance is not merely historical fiction but a novel about remaking contact draws attention to the all-too-frequently superficial performativity of settler-centric reconciliation politics and calls for narratives that do more than just meditate on settler guilt and complicity.' 

(Publication abstract)