Imogen Mathew Imogen Mathew i(9264544 works by)
Gender: Female
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1 y separately published work icon Essays on the Production and Reception of Anita Heiss's Writing Imogen Mathew , Canberra : 2019 28943180 2019 single work thesis

'Dr Anita Heiss is a Wiradjuri author from Central NSW. Heiss was one of the nine applicants in Eatock v Bolt, the 2011 court case where Justice Mordecai Bromberg found Herald Sun journalist Andrew Bolt to have contravened Section 18C of the Racial Discrimination Act 1975 (Cth). Heiss later published a memoir entitled Am I Black Enough for You? in which she spoke to notions of Aboriginal identity and authenticity raised by the case. As she decisively put it in the opening pages of Am I Black Enough?: “I am an urban, beachside Blackfella, a concrete Koori with Westfield Dreaming, and I apologise to no-one”. Alongside her involvement in the court case, Heiss is well known as the author of ‘choc’-lit, a distinctive brand of popular women’s fiction that retains the chick lit genre’s focus on career, friendship, sex and shopping, but with a twist: Heiss’s writing features urban Aboriginal Australian women as the main characters. Heiss’s ‘choc’-lit further differentiates itself from normatively white articulations of the genre in its intent to educate a non-Aboriginal audience.

'The memoir genre, litigation in the Federal Court and ‘choc’-lit would appear to have little in common. Yet, Heiss pursues the same argument through each: that the rich diversity of contemporary Aboriginal identity far exceeds the limited stereotypes that dominate the Australian imagination. Until now, there has been very little scholarly interest in Heiss’s writing. My thesis recognises Heiss as a unique and important author whose writing broadens the available spaces for Aboriginal writers in Australian public life. I present my doctoral research as a thesis by compilation. The main body consists of five journal articles: three have already been published and two are under review. My papers move between two modes: literary analyses of plot, theme and character; and online reception studies. By paying attention to the way Heiss puts an ostensibly escapist genre to serious political ends, my research presents the first sustained academic account of Heiss’s published writing. Equally, I focus on online reception and amateur reviewing practices to highlight new ways of thinking about engagement and impact through popular literary forms.'

Source: Abstract.

1 Educating the Reader in Anita Heiss’s Chick Lit Imogen Mathew , 2016 single work criticism
— Appears in: Contemporary Women's Writing , November vol. 10 no. 3 2016;

' In this essay, I use a close reading of Anita Heiss’s five chick lit novels to argue that racial identity profoundly affects the relationship between the chick lit novel and advice manual genre. In Cosmopolitan Culture and Consumerism in Chick Lit, Caroline Smith contends that the chick lit novel critiques and satirizes regimes of female control through its engagement with the domestic advice manual. This relationship, however, does not always work in the way Smith assumes because the protagonist is not always white: she may be Latina, Chinese, South-East Asian, or, as Anita Heiss shows, Aboriginal Australian: Heiss’s fiction serves as an advice manual, designed to expose readers to the correct norms and behaviors for interacting with Australia’s First Peoples.'

Source: Publisher's blurb.

1 Reviewing Race in the Digital Literary Sphere : A Case Study of Anita Heiss’ Am I Black Enough for You? Imogen Mathew , 2016 single work criticism
— Appears in: Australian Humanities Review , November no. 60 2016;
1 Love in the Time of Racism : ‘Barbed Wire and Cherry Blossoms’ Explores the Politics of Romance Imogen Mathew , 2016 single work review
— Appears in: The Conversation , 7 September 2016;

— Review of Barbed Wire and Cherry Blossoms Anita Heiss , 2016 single work novel
'Popular media forms, from Oodgeroo Noonuccal’s poetry to the dystopian sci-fi television series Cleverman, have often been used by Aboriginal Australians to inform and entertain. The latest example of this type of political and artistic endeavour is Wiradjuri author Anita Heiss' new work Barbed Wire and Cherry Blossoms. ...'
1 “The Pretty and the Political Didn’t Seem to Blend Well” : Reconciling Competing Ideological Imperatives in Anita Heiss’ Chick Lit Imogen Mathew , 2015 single work criticism
— Appears in: JASAL , vol. 15 no. 3 2015;
'In recent decades, chick lit has become a ubiquitous – if not always celebrated – feature of the contemporary literary, social and cultural landscape. In Australia, Anita Heiss is one of the genre’s preeminent practitioners, and the only Aboriginal author writing chick lit for a mainstream, middleclass audience. A close reading of two of her novels (Not Meeting Mr Right and Manhattan Dreaming) reveals a deep political engagement running through her fiction. On the one hand, this political engagement is expressed by Heiss’ commitment to foregrounding the lives and experiences of young, urban, Aboriginal women. On the other hand, the narrative is peppered with references to, and discussion of, urgent political issues: from banning the burqa in France to protesting the Northern Territory intervention in Melbourne. While Heiss’ political engagement is of an unapologetically, left-wing, liberal cast, the analysis undertaken in this article will show that a surprisingly conservative bias forms the subtext to many of the political interventions in Heiss’ fiction. Galvanised by the question of why there should be such competing ideological imperatives at work in her fiction, this article will argue that the demands of an inherently conservative genre restrain and limit the extent to which chick lit can be used to promulgate a socially progressive vision.' (Publication abstract)
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