Cirrus@Austlit

'This essay argues that we need ways to read unexpressed queer desire and the absence of sex in writing by gay authors that don’t fall back on the trope of the closet. It makes this argument through pairing Sumner Locke Elliott’s 1948 play Rusty Bugles with his 1990 ‘coming out’ novel Fairyland, two texts that draw upon Elliott’s time at an ordinance depot during the Second World War. Elliott’s work has often been read as out of step with the politics of gay liberation. However I will argue that both these texts reflect upon the queer potential of not having sex. In Elliott’s writings about the Second World War the structured sexual abstinence of the ordinance depot provides his protagonists with an escape from the burden of homosexual identity in the twentieth century and allows for new modes of queer intimacy and exchange.' (Publication abstract)

'This essay situates Thea Astley’s 1975 novel of the Queensland frontier, A Kindness Cup in relation to the rise of projects of postcolonial revisionist history writing in Australia. I argue that we can read Astley’s novel as reflecting upon the political and affective uses and limits of history writing for the redress of violence at a moment when history writing was undergoing major shifts in Australia. Much Australian left wing revisionist history embodies the optimistic liberal political belief that uncovering and representing the unacknowledged violence of the frontier might act to redress violence and injustice. Astley’s novel, by contrast, offers a critique of what I call  ‘the politics of exposure’—that is a politics that works from the assumption that violence, inequality and injustice are mostly the result of ignorance and that therefore better knowledge will help prevent them. The novel asks what fantasies and blind spots inhabit an uncritical investment in the politics of the exposé and suggests some of the ways that the desire to expose violence might itself be a form of violence.' (Publication abstract)

'Since its publication in 1938 critics have generally read Xavier Herbert’s Capricornia as a nationalist novel, even when its nationalism is seen to be structured by contradiction. But little attention has been given to the ways in which Herbert’s complex, multifarious and heteroglossic novel exceeds and challenges the very possibility of coherent national space and a coherent national story. This essay considers moments and spaces in Herbert’s novel where the national is displaced and unravelled. Drawing on Rebecca Walkowitz’s idea of cosmopolitan style and Suvendrini Perera’s work on Australia’s insular imagination I identify a critical cosmopolitanism that inheres in the novel’s geographical imagination and its literary form, particularly the narrative voice which retains a critical distance from the nationalist sensibility of various characters and plot lines, performing a detached and restless homelessness that I identify with the cosmopolitan. Ultimately I ask how the novel’s spatial and environmental imagination displaces its nationalist agenda, making space for a different kind of social imagination—one that does not confine itself to the terms of the nation or organise itself around a central figure for the nation.' (Publication abstract)

'Writing Native explores how Australian interwar nationalist representations of the Aboriginal engaged key political and aesthetic paradigms of the early twentieth century: communism, fascism and modernism. Critics often interpret nationalist engagements with Aboriginal culture as a recent phenomenon, tied to the dismantling of the white Australia policy and the rise of the liberal multicultural state. However, I uncover a longer and more politically varied history. Moving from the far left to the far right, I demonstrate the centrality of representations of the Aboriginal within attempts to imagine alternatives to liberal capitalist modernity in Australia from diverse political perspectives. In doing so, I offer a new way of way of thinking about the relationship between Australian cultural nationalism and modernist cultures in the first half of the twentieth century. ' (Thesis abstract)