Cirrus@Austlit

'In 1941 Ernestine Hill published My Love Must Wait, a biographical novel based on the life of navigator Matthew Flinders. In the same year, Eleanor Dark published The Timeless Land, imagining the arrival of European settlers in the Sydney region from the perspectives of multiple historical figures. In this article we examine how each author represents the important figure of Bennelong, a man of the Wangal people who was kidnapped by Governor Phillip and who later travelled to England with him. While both works can be criticized as essentialist, paternalist or racist, there are significant differences in the ways each author portrays him. We argue that Dark’s decision to narrate some of her novel from the point of view of Bennelong and other Indigenous people enabled different understandings of Australian history for both historians and fiction writers. Dark’s “imaginative leap”, as critic Tom Griffiths has termed it, catalysed a new way of thinking about the 1788 invasion and early decades of the colonization of Australia. The unfinished cultural work undertaken by these novels continues today, as demonstrated by subsequent Australian novels which revisit encounters between Indigenous inhabitants and European colonists, including Thomas Keneally’s The Chant of Jimmie Blacksmith (1972), Richard Flanagan’s Wanting (2008), and Rohan Wilson’s The Roving Party (2011). Like Dark, these authors situate parts of their novels within the consciousness of Indigenous figures from the historical record. We analyse the diverse challenges and possibilities presented by these literary heirs of Eleanor Dark.' (Publication abstract)

Catherine Padmore's article seeks to understand the 'spectral effect' of Dead Europe. She explores 'two (out of many possible) main ideas, both of which involve a form of literary possession. These are:
1. The strategic use of the ghost story form to produce uncanny effects;
and
2. The lingering and difficult question of whether or not this novel is anti-Semitic.' (p.53)

Padmore concludes: 'Dead Europe can disturb readers on a number of levels. It uses traditional ghost story techniques and encourages reader identification with a confronting character to create a compelling literary possession not simply between characters within the book but between book and reader. In this way it provokes, but does not answer, multiple questions. Lodged in me, the novel's ghosts continue to provoke, unsettle and disturb, long after reading has finished.' (p.62)

'As a writer, a reader and a migrant, I am interested in the gaps in migration narratives and in where the stories touch other stories. These features suggest the difficulty of capturing the enormity of the migrational shift in one narrative and offer a sense of the nuances contained within a single person's experiences of migration. In this article I explore some ways in which individual migration stories have similar fragmented structures and make dynamic connections to wider stories, using examples from my own and other Australian fiction.'

In addition to her own work, Sibyl's Cave, Padmore refers to Eva Sallis's Hiam (1998), Arnold Zable's Cafe Scheherazade (2001), Peter Lyssiotis and Nick Petroulias's 'New Troy' (2000) and Rosa Cappiello's Oh, Lucky Country [Paese Fortunato] (1984). 'Some of these works have fragmented structures and all contain intertextual links to other stories. The embedded stories in these texts are often not Australian in origin but have travelled to Australia from elsewhere, reflecting the migrational history that shapes one aspect of contemporary Australian identity.'