Cirrus@Austlit

'John Guillory’s Professing Criticism (2022) is, without doubt, a tour de force of critical scholarship and intellectual acumen. He delves deep into the rise of vernacular languages and the history of English literature, charting the development of literary criticism as a profession and the emergence of English literature as a discipline. Guillory’s account makes it clear that one of these things need not inevitably lead to the other, a point reinforced by his explanation of their separate origins and the case studies he puts forward of two ‘failed disciplines’ (belles lettres and philology). The meticulous and exhaustive genealogy he provides for the formation of English literature makes the narrowness of his definition of what constitutes such a literature all the more startling. From an Antipodean perspective, it is astonishingly Americentric, especially for a theorist so clearly attuned to the expansion of English literature beyond national borders.'  (Introduction)

'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)

'Alexis Wright is known for reshaping literary forms to better suit and present an Aboriginal worldview. Her work not only contains an inherently ecological perspective, but is also marked by a comprehensive understanding of the ways in which literature is imbricated with the nation and the economy. This essay traces the connections between Wright’s agitation for sovereignty and social justice, the creation of an Aboriginal economy, and the colonial legacy of climate change. It suggests that Wright’s fiction lays bare the anthropocentric nature of world literature in its current state and tables the prospect of a Gaian world literature.' (Publication abstract)

'Narrative medicine may take certain methodological cues from literary studies, linguistics and narrative theory, but until now it has remained firmly grounded in the health sector. It views storytelling and narrative as tools that can improve the performance of medical practitioners – first, by helping them process the confronting nature of their everyday jobs, and then by facilitating more effective communication with patients. Narrative competence thus provides an important supplement to the medical gaze, enhancing the clinical experience for practitioner and patient alike. But narrative medicine also has important implications from a literary point of view. It highlights the special position that the medical worker occupies in terms of being able to observe a cross-section of society. When a medical practitioner decides to engage not only with the scientific method of evidence-based medicine but also in the arts-based practice of narrative medicine, he or she has the opportunity to make an intervention in the broader culture. Consequently, the literature that emerges almost as an offshoot of narrative medicine is capable of creating forms of representation that more accurately reflect the heterogeneity of social conformance. It is a literature that draws attention to demographic sectors of society that might otherwise be denied mainstream representation.

'This essay examines the ways in which a medical practice can inform a writing practice, and vice versa. Using the work of Chinese-Australian author Melanie Cheng as a case study, I show how narrative medicine traverses an important space between the medical gaze and the empathetic instinct. Cheng has worked as a General Practitioner (GP) for over ten years, whilst developing a parallel writing career. Her debut collection of short stories, Australia Day (2017), functions on one level as a therapeutic outlet for Cheng’s day job. In addition, by recasting the GP as a repository of secrets, her stories provide matchless insights into the lives of people from a range of different cultural and socio-economic backgrounds. Cheng’s writing therefore transcends the boundaries of her own personal history and ethnicity, pointedly venturing beyond the territory expected of her as a Chinese-Australian author. Viewing Cheng’s work through the lens of her medical training shows us how the practice of medicine can work alongside that of writing to deepen our understanding of what is commonly referred to as the ‘human condition’.'

Source: Abstract.

'After Aboriginal author Alexis Wright’s novel, Carpentaria, won the Miles Franklin Award in 2007, it rapidly achieved the status of a classic. The novel is widely read and studied in Australia, and overseas, and valued for its imaginative power, its epic reach, and its remarkable use of language.

'Indigenous Transnationalism brings together eight essays by critics from seven different countries, each analysing Alexis Wright’s novel Carpentaria from a distinct national perspective. Taken together, these diverse voices highlight themes from the novel that resonate across cultures and continents: the primacy of the land; the battles that indigenous peoples fight for their language, culture and sovereignty; a concern with the environment and the effects of pollution. At the same time, by comparing the Aboriginal experience to that of other indigenous peoples, they demonstrate the means by which a transnational approach can highlight resistance to, or subversion of, national prejudices.' (Publication summary)

Lynda Ng reads three Australian works (two historical novels and a fictional biography) to demonstrate 'how contemporary Australian authors reflect the rise of global culture by deepening and broadening Australia's historical timeline. The willingness of these authors to show the indebtedness of Australian culture to that of other nations echoes Wai Chee Dimock's attempts to move American literature beyond its national confines by repositioning it on the scale of a planetary "deep time". Paradoxically, however, in these novels the incorporation of historical events that would not traditionally be regarded as Australian does not diminish the preponderance of Australian nationalism. Rather, it enhances the prestige of the Australian nation by representing it as an active participant in a network of cosmopolitan and transnational cultural flows' [pp. 165-166].