Cirrus@Austlit

'First Nations Australian literature has often been the object of incomprehension and derogation by settler critics – something a deeper perspective of “presencing” can overcome. This chapter takes a decolonial perspective and highlights the self-assertion of First Nations writers against invidious characterization, such as that received by the poetic work of Oodgeroo Noonuccal in the 1960s. It demonstrates how nonIndigenous readers can approach texts by First Nations authors not as “tourists” but as “invited guests.”' (Publication abstract)

'From early Australian writers such as Henry Savery and Barron Field through to modernist luminaries such as D. H. Lawrence and contemporary refugee writers such as Behrouz Boochani, authors who have had only a temporary, contingent, or ephemeral relationship to Australia have been a major feature of Australian literary history. This chapter surveys these writers, showing how they pose perennial problems for the institutionalization of Australian literary studies.' (Publication abstract)

'Paradoxically, Australian nationalist accounts have tended to slight the earliest Australian literature by white settlers from the nineteenth century. This chapter surveys the literary history of this period, examining writers such as Oliné Keese, Ada Cambridge, Henry Kingsley, Rosa Praed, and Catherine Helen Spence. Drawing connections between these writers and the transnational Anglophone literary world centering on Great Britain and the United States, this chapter takes a comparative perspective that at once acknowledges the peripheral standing of these Australian texts and argues for their relevance to the history of the novel in English.' (Publication abstract)

'This chapter critically analyzes the work of late nineteenth-century and early twentieth-century white settler colonial writers who represented Indigenous characters and stories. It will examines how certain tropes persisted, from Rolf Boldrewood’s late romanticism to Eleanor Darks reconstructive modernism. It explores how novels by these writers manifest a contradictory set of ideas towards race and landscape, which it takes as emblematic of wider white Australian culture.' (Publication abstract)

'This chapter contests the prevailing interpretation of the post-Mabo turn as a decisive new era in Australian cultural history. While the Mabo High Court decision of 1992 was an important milestone in struggles for Indigenous land rights, the insistence on this date as a literary periodization neglects the continuities in settler culture that still structure settler fiction in Australia. Alternatively, recent First Nations fiction suggests possibilities within and outside dominant paradigms of legality.' (Publication abstract)

'This chapter charts how the rise of book history and publishing studies has reshaped the Australian literary field. In the 1990s, it was widely believed that Australia-based publishers were in danger of being absorbed into transnational corporate behemoths. The twenty-first century, by contrast, has witnessed a resurgence in Australian literary publishing. Firms such as Text and Giramondo were able to distribute their books internationally, while also fashioning local models of literary discernment. Although not economically lucrative in an absolute sense, the branding of a literary style of Australian book has reinvigorated the visibility of the Australian novel in the twenty-first century.' (Publication abstract)

'This chapter considers Christina Stead as a transnational writer, who travelled across continents and through political contexts. It argues that her work is bound together by a “marine aesthetics” and surveys how this plays out in the key phases of writing life: an early period in London and Paris, a middle period in America, and late period, in Europe, England, and Australia. Stead is a political writer of the twentieth century, but also a formal realist whose works continue to challenge the novel genre today.' (Publication abstract)

'This chapter will build on recent work by Elizabeth McMahon and Christos Tsiolkas to situate Australia’s first Nobel Prize winner as a queer modernist with his own distinct political valence. Written by the foremost Chinese scholar of Australian literature, Chen Hong, this chapter explores Whites epochal career. It covers White’s novelistic oeuvre from The Aunt’s Story (1948) through to his late queer masterpiece, The Twyborn Affair (1979).' (Publication abstract)

'This chapter explores “constellational form” in Gerald Murnane. It argues that the key continuity in Murnane’s work lies in his associative way of writing, and analyzes the motivations and philosophical convictions underlying this form. It traces these formal continuities across Murnanes work, from his early novel Tamarisk Row (1974) through to his post-hiatus fictions up to Border Districts (2017). It also considers Murnanes “idealism” and probes how this underpins his unique understanding of the ontology of characterological beings and the relationship between implied author and reader.' (Publication abstract)

'This chapter considers Helen Garners fiction, assessing the evolution of her work from the scandalous diary-like immediacy of the Monkey Grip (1977) through to her minimalist masterpiece The Children’s Bach (1984). Throughout, it considers the house as a core spatial configuration that changes across Garner’s work.' (Publication abstract)

'This chapter considers Alexis Wright’s trajectory as a writer from Grog War (1997) to The Swan Book (2013), arguing that her body of work presents a consistent vision that is “at once Aboriginal and Australian, modern and ancient, local and yet outward-looking.” It pays special attention to the notion of “all times,” the relation between form and politics, and how imaginative sovereignty underpins Wright’s work.' (Publication abstract)

'This chapter looks at the work of the contemporary Noongar writer Kim Scott, focusing both on its portrayal of his family history and the history of Indigenous settler contact in Western Australia. It emphasizes the importance of the university as a context for Scott’s historical fiction, focusing on creative-writing programs and practice-led research. It demonstrates how the rise of “the doctoral novel” plays a vital role in a more plural and more just model of literary engagement.' (Publication abstract)

'In Western Sydney, writers such as Luke Carman, Michael Mohammed Ahmad, and Felicity Castagna have produced novels written from the working-class and multicultural perspectives that are a far cry from mainstream visions of Sydney. Ahmed’s The Tribe (2014) is a multigenerational saga of a Lebanese Australian family that examines ideas of belonging and alienation, inclusion, and exclusion, which touch, but also exceed, identities of ethnicity and religion. Castagna’s novel No More Boats (2017), explores how an Italian migrant to Australia in the 1960s becomes, in the 2000s, a fervent conservative opponent of further migration to Australia by people from Asia and the Middle East. This chapter shows Western Sydney as the place where twenty-first century Australian literature is most vitally happening.' (Publication abstract)

'This chapter examines the transnational Australian novel from a different perspective, focusing on First Nations writing. Whereas most visions of the global privilege literary institutions whose power stems from existing political and global inequalities, First Nations writing fosters a transnationalism of resistance, solidarity, and fungibility. It considers Alexis Wrights novels in translation, and writers engaged in collaborative projects.' (Publication abstract)

'Whereas much scholarship still associates migrant fiction in Australia with social or documentary realism, this chapter emphasizes its playful, iconoclastic, and experimental qualities. It questions the conventional long form as a closed, stable narration that relies on summation and style. Instead it turns to short fiction, examining writers such as Tom Cho, Nicholas Jose, and Melanie Cheng who operate as transnational, experimental, and decolonial forces in Australian writing.' (Publication abstract)

'This chapter lays out the reasons that the verse novel has been unusually prominent in Australia, considering key examples such as Dorothy Porter’s The Monkey’s Mask (1994), a lesbian detective thriller, and the four other significant verse novels she composed, to the late 1980s trio of Laurie Duggan (The Ash Range), John A. Scott (St Clair) and Alan Wearne (The Nightmarkets). It then goes on to discuss Indigenous and Asian-Australian practitioners of the verse novel form such as Ali Cobby Eckermann and Ivy Alvarez.'

'David Malouf and Christos Tsiolkas represent very different generations of gay men with migrant backgrounds, but both use the novel form as a way of articulating gay experience. Malouf, born 1934, started out as a poet, and continued to publish poetry for his entire career. His work is exquisitely styled and highly verbally self-conscious. As opposed to the meditative, scholarly Malouf, Tsiolkas, born 1965, is far grittier and rancorous in his approach. Loaded (1995) details a world of drug use and casual sex, whereas Dead Europe (2005) overturns the traditional Australian nostalgia for and even pretention about continental Europe by examining its sordid post-Cold War reality. Though Malouf and Tsiolkas are very different writers, their concern with aesthetics, history, and what it might be to live in a community make their juxtaposition not just heuristic but inevitable. This chapter explores one convergence between them: their queering of mateship.' (Publication abstract)

'This chapter investigates the response of the Australian novel to the Anthropocene. It considers ways in which new, speculative fictions have sought to represent deep time and planetary interconnection, and interrogates how this connects to long-standing settler-colonial relations to land. It considers such writers as James Bradley, George Turner, and Tara June Winch, and emphasizes the region of Western Australia as a place of particular environmental urgency.' (Publication abstract)

'The refugee novel is a problematic classificiation, especially when one adds a national label to it. This chapter examines the writing of Behrouz Boochani, Michelle de Kretser, and Felicity Castagna in the context Australia’s treatment of refugees. It argues that refugee fiction can play a vital epistemological and ethical role in the Australian context, while also emphasizing the dangers of commodification that dog the category of “refugee writing.”' (Publication abstract)