Cirrus@Austlit

'The world is now characterised by unprecedented global mobility and the corresponding hysterical protection of national borders. Australianists have begun to investigate Australia’s place in this scene of border crossing and mobility, both in terms of the crossing of Australia’s own borders and the transnational identity of Australian writing. On the face of it the ‘transnational’ character of the Australian population may be supported by its diverse origins, its propensity to travel, and by its government’s necessary engagement both with countries in the Asia-Pacific region and those powerful states whose relationship must be carefully balanced. However this paper proposes a different way of approaching this issue, in the concept of the Transnation, which is composed of the everyday movements of national subjects around the structures of the state. The term ‘transnation’ refers to much more than ‘the international’, or ‘the transnational’, which might rather be conceived as a relation between states, a crossing of borders or a cultural or political interplay between national cultures. The transnation is the circulation of populations around the structures of the state. Consequently, literature, the repository of cultural memory, so often misconceived in national terms, may be seen to be the province of the transnation.' (Publication abstract)

'In ‘Orders of Discourse’ Foucault raises the deeply embedded opposition between reason and folly: ‘From the depths of the Middle Ages a man was mad if his speech could not be said to form part of the common discourse of men’. This discursive rule becomes magnified in the case of women and of the colonised. In Coetzee’s In the Heart of the Country and Patrick White’s The Aunt’s Story, Magda and Theodora demonstrate the precarious marginality of the colonial woman. They are doubly marginalised as colonial women, existing outside settler history, which is the narrative both of the masculine responsibilities of settlement and an attendant sense of displacement. In Coetzee’s novel, Magda plays out a version of The Tempest in which she is subjected both to the Law of the Father and to Caliban, while in The Aunt’s Story Theodora plots a determined path out of the discourse of men into the ambivalently liberating horizon of madness. The differences between the women say as much as the similarities, but both offer a compelling version of the layered marginalities of the female colonial subject. In the writers’ hands the place outside discourse, the peculiar language of the colonial women, becomes the potential location of counter discourse. This essay proposes that the women demonstrate a radical interiority, a capacity to inhabit the lives of others in a way that is considered madness but which enacts the utopian function of literature itself.' (Publication abstract)

Postcolonial ecocriticism has emerged gradually over the last couple of decades as the differences between postcolonialism and environmentalism have been overcome. Those differences have centred on an assumed conflict in the way the two discourses see the world. However, the colonial roots of environmental degradation and the growing postcolonial critique of the effects of imperialism have seen a growing alliance focused in the discipline of postcolonial ecocriticism. Postcolonial critique and environmentalism have found common interest in the role of imperialism and capitalism in the rapidly degrading anthropocene. However critique has not often led to a clear vision of a possible world. This paper suggests a new alliance – between postcolonial critique, environmentalism and utopianism – one that emerges from the postcolonial realisation the no transformation can occur without the hope inspired by a vision of the future. The paper asks what literature can do in an environmental struggle in which colonized peoples environmental struggle in which colonized peoples are among the worst affected. The role of postcolonial literature provides a model for the transformative function of the creative spirit in political resistance. No true resistance can succeed without a vision of change and literature provides the most powerful location of that vision – no transformation can occur unless it is first imagined.

'This volume marks the birth centenary of a giant amongst contemporary writers: the Australian Nobel prize-winning novelist, Patrick White (1912–1990). It proffers an invaluable insight into the current state of White studies through commentaries drawn from an international galaxy of eminent critics, as well as from newer talents. The book proves that interest in White’s work continues to grow and diversify.

'Every essay offers a new insight: some are re-evaluations by seasoned critics who revise earlier positions significantly; others admit new light onto what has seemed like well-trodden terrain or focus on works perhaps undervalued in the past—his poetry, an early short story or novel—which are now subjected to fresh attention. His posthumous work has also won attention from prominent critics. New comparisons with other international writers have been drawn in terms of subject matter, themes and philosophy.

'The expansion of critical attention into fields like photography and film opens new possibilities for enhancing further appreciation of his work. White’s interest in public issues such as the treatment of Australia’s Indigenous peoples, human rights and Australian nationalism is refracted through the inclusion of relevant commentaries from notable contributors.

'For the first time in Australian literary history, Indigenous scholars have participated in a celebration of the work of a white Australian writer. All of this highlights a new direction in White studies – the appreciation of his stature as a public intellectual. The book demonstrates that White’s legacy has limitless possibilities for further growth.' (Publisher's abstract)

'In Dirt Music, remembering the time before a car crash took the lives of his brother Darkie, Darkie's wife Sal, and their two children, Bird and Bullet, Luther Fox recalls Bird's question : 'Lu, how come water lets you through it?' Bird is the one who saw God, and 'if anyone saw God it would likely be her. Bird's the nearest thing to an angelic being.' Bird's question suggests the function of water in Winton's novels. Water is everywhere in his writing, as people sail on it, dive into it, live on the edge of it. Clearly the sea and the river are vital aspects of the writer's own experience. But water is more than an omnipresent feature of his writing and his life, the oceanscape of his stories. It is something that 'lets you through'. It lets you through because it is the passage to a different state of being, sometimes in dream, sometimes in physical extremity, but always offers itself as the medium of transformation. When it lets you through - whether to escape to a different life, as a rite of passage to adulthood, to see the world in a new way or to discover the holiness of the earth or the wonder of the world, whether it is the baptismal water of redemption to an opening to a world of silence - and it is all these things- you become different.' (Author's introduction 16)

'The essay addresses the poetic dimension of David Malouf's novels, suggesting that a poetics of possibility can be found in all his work. The poetics of possibility is a function both of Malouf’s thematic interest in the future and of his use of poetic language to draw the reader to imagine various kinds of ways of experiencing and knowing the world. The essay draws upon the philosophy of Ernst Bloch to illuminate the utopian dimension of Malouf’s work, whether in seeing the radiance of possibility in simple objects, the silent ‘presence’ at the centre of language, or the possibility of a different kind of future that Australian society might have experienced.' (Publication abstract)

'WHAT IS IT TO KNOW WHAT WE KNOW? I want to talk about what we can know about the other in the interstices of cultures, in that contact zone in which subjects are mutually transformed. In particular I want to talk about the space that lies just beyond interpretation, beyond the boundary of that product we call 'meaning' to see how we might know the unknowable, might 'know' the Indigenous experience of the world, a form of knowledge outside, perhaps, the boundaries of our epistemology. I say 'beyond' but it may be better understood as a communication that occurs before the interpretation of meaning, in a non-hermeneutic engagement with the materiality of the text. '

Source: Paragraph one (p.107).

'There is no clearer demonstration of the fact that reading is a social and historical act than the reception of Patrick White. The relationship between reader and writer, or reader and text, is never innocent, but reflects the social concerns of the time. With literature and literary analysis, it also reflects the concerns dominating the institutions of literary criticism. White's work entered Australian literary culture at a time when the country was experiencing a post-war nationalist resurgence, leading up to the establishment of a chair of Australian literature at Sydney University — the first such chair, and the belated recognition that Australia did have a literature, and, indeed, was experiencing a birth into respectability —just as hunger for an Australia literature of world stature was growing.

' (Introduction)