y separately published work icon JASAL periodical issue   peer reviewed assertion
Issue Details: First known date: 2022... vol. 22 no. 2 December 2022 of JASAL est. 2002 JASAL
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AbstractHistoryArchive Description

'Welcome to issue 2 of JASAL for 2022. What a year it has been! For ASAL one of the highlights of 2022 was of course the annual conference. This year’s conference was held in July in Hobart at the University of Tasmania. The title was Coming to Terms, 30 Years On: The Mabo Legacy in Australian Writing. Presenters from around the country and beyond gathered in person and online to consider how the Mabo decision of 1992 has impacted Australian writers and writing in manifold ways. We look forward to showcasing a selection of these papers in our forthcoming conference issue in late 2023.' (Robert Clarke, University of Tasmania Victoria Kuttainen, James Cook University

Contents

* Contents derived from the 2022 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Dementia, Ageism and the Limits of Critique in Thea Astley’s Satire, Ann Vickery , single work criticism
Listening to the Imagined Sound of Contemporary Australian Literature, Joseph Cummins , single work criticism
'Listening and reading literature. These two activities are maybe counter-intuitive partners. In sensual terms, one mostly concerns the ear, the other the eye. When we listen, it is, usually, mostly to sound, to resonance, physical vibration—although composer and sound theorist John Cage tells us we can also listen to silence. When we read, it is a silent activity. Of course, we can listen to words, to a reading or an audiobook, and we can listen to poetry. But often, perhaps mostly, we read in silence.' (Introduction)
I'll Show You Love In a Handful of Dust, Samuel J. Cox , single work criticism
'This article argues the final and arguably most permeable frontier Patrick White’s Voss sets out across is the material. Informed by the environmental and material turn in the humanities and turning away from the purely psychological and ‘country of the mind’ readings of White’s novel, I explore Voss’s engagement with various non-realist traditions to open questions on how literature and the text might materialise new sources of intimacy and interconnection with the mineral realm. Tracking a journey through stone and rock to dust, I connect Voss’s material poetics to larger themes and the wider question of the texts relationship to the Australian environment. I argue that in White’s novel a confrontation occurs between an inherited European literary aesthetics, connected to humanist ideals, and the dry and uniquely Australian material environments of the interior. Whereas colonial Sydney seeks stability and impermeability through their relation to stone and the material world, the journey inland will fracture and fissure established forms. The ultimate triumph of Voss’s material poetics, manifested largely through Laura, is to discover not simply fear in a handful of dust, as in T.S. Eliot’s famous line from The Waste Land, but love.' (Publication abstract)
Books That Make Us : Exploring Author-Reader Relationships in Turn Left at Venus, Harper Boon , Leigh Dale , single work criticism

'The work of Australian writer Inez Baranay is read in the light of Stephen Orgel’s assertion that ‘If readers construct books, books also construct readers,’ and a parallel remark by Elizabeth Webby, that the ‘life/fiction opposition is too simple: the values people act upon in life may, in fact, be derived from novels they have read.’ While making some reference to Baranay’s career as a whole, our focus is the 2019 novel Turn Left at Venus (2019), a structurally complex book about a (fictional) writer of science fiction whose most renowned work is titled Turn Left At Venus. The essay argues that, in reflecting on the making of literary values among those in the book industry, in scholarly environs, and general readers (particularly fans), reading Turn Left at Venus prompts questions about the role of gender, sexuality, cultural and linguistic difference, travel, and genre, as they shape the valuing of books and writers in Australia.'(Publication abstract)

Serial Representations of First Nations Peoples and Settler Belonging in The Queenslander, Sarah Galletly , single work criticism

'This article examines serial representations of Indigenous peoples in colonial periodical fiction to explore settler anxieties around colonisation and the fragile nature of settler belonging. It builds upon Elizabeth Sheehan’s work on seriality to consider the extent to which the serial (re)production of representations of Indigenous peoples in colonial texts works both to support and unsettle settler colonial subject formations and identities. Focusing mainly on the 1880 Christmas Supplement of The Queenslander, this study explores how two interdependent modes of seriality—continuity and subject formation—can be productively traced within a single issue of a periodical (Sheehan 2018). By reading across the contents of a periodical we can explore the strategies settler periodical fiction utilised to sublimate and ‘contain’ Indigenous presence while simultaneously noting where such containment fails or is unsettled by the fragile nature of settler fantasies around colonisation. The ‘operations of affect’ (Dillane 2016) at work in these texts are also discussed in this study to consider how they work to reinforce or undermine narratives of settler belonging for these texts’ colonial readership, with particular attention paid to the role of settler sorrow and ‘sympathy’ for the plight of Indigenous peoples in this era.' (Publication abstract)

Nathan Hobby, The Red Witch: A Biography of Katharine Susannah Prichard, Brenda Walker , single work review
— Review of The Red Witch : A Biography of Katharine Susannah Prichard Nathan Hobby , 2022 single work biography ;
'Early in the Constance Garnett translation of Anna Karenina a few lines appear that suggest something more historically significant than Anna’s emotional turmoil. Anna is travelling back from Moscow to her husband and son in St Petersburg, just after a ball where her romance with Vronsky begins. She has been in Moscow to help repair her brother’s marriage; now her own is at risk. “Moments of doubt were continually coming upon her, when she was uncertain whether the train were going forwards or backwards, or were standing still altogether . . . ‘What’s that on the arm of the chair, a fur cloak or some beast? And what am I myself? Myself or some other woman?’” A cloak is protective. It can be fashionable. A beast is a dangerous monstrosity; terrifying and unknowable. The same object flickers between these poles, and the viewer, herself in a state of extreme personal uncertainty, must stabilise her vision, for the object cannot be both things. At the same time there is some confusion about the actual progress of the train. Is it going forward? Is it going backwards? Is it going nowhere? This dire uncertainty also applies to Soviet Russia, which at one time seemed socially protective, progressive, indeed fashionable to many outsiders, before Stalin’s monstrosity came into full view. Some of these outsiders, Katherine Susannah Prichard included, never really emerged from under Stalin’s cloak.' 

(Introduction)

Michelle Cahill, Daisy & Woolf, Caylee Tierney , single work review
— Review of Daisy and Woolf Michelle Cahill , 2022 single work novel ;
'Michelle Cahill’s Daisy & Woolf is a novel that centres on Daisy Simmons, the “dark, adorably pretty” marginal character with whom Peter Walsh declares himself in love in Virginia Woolf’s Mrs Dalloway (Woolf 172). The story unfolds via a compilation of letters and diary-entry-style chapters shifting between the 1920s (Daisy’s experiences) and the late 2010s—where writer Mina reflects on the process of telling Daisy’s story. First and foremost, Daisy & Woolf is interested in examining and challenging “Anglo-centric histories and fictions” through its engagement with Woolf’s novel and characters, but much like its characters, the story roams far beyond this central focus in numerous directions. Cahill ruminates on writing and publishing, sexuality, gender, motherhood, technology, the passage of time and mental health—a list that overlaps significantly with the concerns of Woolf’s work (see Showalter).' (Introduction) 
Meg Brayshaw, Sydney and Its Waterway in Australian Literary Modernism, Sarah Galletly , single work review
— Review of Sydney and Its Waterway in Australian Literary Modernism Meg Brayshaw , 2021 multi chapter work criticism ;
'This study provides an engaging and persuasive exploration of the myths and realities of “Sydney’s connection to its waterway” through a close examination of five novels from the 1930s and 40s written by female authors (7). Each chapter offers a case study that considers how these novels explore the complexities of urban modernity alongside a wide range of literary, cultural and social “currents” of the interwar period. Across this study as a whole, Meg Brayshaw eloquently argues for the value of more regional or localised studies of modernism that facilitate understandings of modernity “as a phenomenon that is both situated and transcalar, conceptual and embodied” (15).' (Introduction) 
Roger Osborne, The Life of Such Is Life : A Cultural History of an Australian Classic, Julian Croft , single work review
— Review of The Life of Such is Life : A Cultural History of an Australian Classic Roger Osborne , 2022 multi chapter work criticism ;
'Roger Osborne’s The Life of Such Is Life lives up to its title. After finishing this book, it’s hard to disagree with that descriptor of Furphy’s novel. It is alive. That inert object we have on our bookshelves is a living entity, and possibly more than most literary texts, the history of the origin of that physical text shows many similarities to the evolution of a species under selective pressure, to use some of the terminology Furphy would have been familiar with from his reading of Darwin. Moreover, for us in the twenty-first century, hypersensitive to the insights of ecology, we can see that the physical evolution of the printed text depended on the physical ecologies of the publishing and printing industries of Australia, Great Britain, and the United States of America, as well as the metaphysical environment of the “ecology of minds” (to use Gregory Bateson’s term) of the readers whose recorded and unrecorded readings over the past 120 years have created the text(s) (we have to include Rigby’s Romance and The Buln-buln and the Brolga) as we know them today. Osborne gives us a comprehensive account of the physical and metaphysical milieux which produced the phenomenon of Furphy’s grand opus in both its trinitarian and singular manifestations. If that sounds somewhat theological, it might not be out of place, given the number of claims that Such Is Life is our foundational literary narrative, akin to Don Quixote or Moby Dick, claims that surface regularly in the various attempts to keep Such Is Life in print, as Osborne shows.' (Introduction) 
Daozhi Xu, Indigenous Cultural Capital: Postcolonial Narratives in Australian Children’s Literature, Rich Carr , single work review
— Review of Indigenous Cultural Capital : Postcolonial Narratives in Australian Children's Literature Xu Daozhi , 2018 multi chapter work criticism ;
'Part history, part theory, and part examination of children’s literature focused on Indigenous experience, Indigenous Cultural Capital explores efforts to bring First Nations life and culture into the mainstream through books aimed at young readers. Xu Daozhi begins her work with this assertion: “The representations of Aboriginal life and cultures in Australian children’s books, throughout much of Australia’s post-contact history, have been plagued by racial stereotypes and prejudice” (1). (The author includes Torres Strait Islanders under the term “Aboriginal.”) To develop her ideas, she employs Pierre Bourdieu’s concept of “cultural capital”: “Cultural capital, in such forms as knowledge, skills, and educational qualifications, refers to cognitive acquisition and competence in deciphering cultural codes” (13). Family, to Bourdieu, is the foundational point for such capital; children from middle- or upper-class families enter the educational system with resources that ready them to acquire cultural capital successfully and thus achieve “scholastic success” (13) and an adult life of power and privilege. She identifies the longstanding absence of Indigenous knowledge and cultures from Australian education as a key factor in enduring racial discrimination in schools and society at large and “the widening gap between Aboriginal and nonAboriginal students in academic performance” (17). Introducing the concept of “Indigenous cultural capital” and applying it to children’s literature, the author contends that the dissemination of narratives to young readers centred on the Aboriginal experience and the corresponding apparatus of curricular changes, prizes, reviews, and appropriate paratextual matter has the potential to transform Australian society. Indigenous cultural capital can shape young readers’ “worldview, opinions, and behaviour” (18) and guide them toward a more racially inclusive social structure.' 

(Introduction)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 22 Dec 2022 07:29:09
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