Cirrus@Austlit

'This paper analyzes the way in which Alexis Wright’s Carpentaria recreates the space of Indigenous country. Looking at the environment and the focus on locality from a regional perspective, I argue that geographic space is used as a subversive place of reality and history so that Indigeneity is a matter of intersubjective relations (M. Langton) and is constantly conceptualized in a process of dialogue, representation, and imagination. I thus examine the focal positioning of the natural environment to show how the manifestation of place and Dreaming tracks annihilate an imagined colonial reality and tend to reconfigure the postcolonial present.' (Publication abstract)

'The Fiction of Tim Winton provides a critical study of the work of one of Australia's most celebrated authors. The book is structured in chapters, eight in total, that seek to interrogate the current significance of Winton's work and its likely influence for the future. In the introduction, McCredden suggests that as an author Tim Winton remains difficult to define. His stories about family life, subjectivity, the individual bond to landscape, and the egalitarian society are critically revisited to examine the career of an author who places himself on the margins of the literary canon. Two chapters (chapters 6 and 8) in particular analyze the impact of the editing and the marketing of stories with specific figures to situate Winton as a global and national author. These two chapters, which may at first appear to merely provide marketing details, are essential and nicely conducted, since McCredden manages to keep her focus on the act of writing. She does not, in fact, simply insert charts and figures; she connects them to the essence of Winton's writing, and this is a tour de force. The theoretical reference to Roland Barthes's use of semiology is all the more significant in that there is a questioning of Winton's use of language and his authorial intent. While his public involvement on social, political, and cultural issues is mentioned, the book does not expand on the slight rapport that some readers may see between literature and politics.'  (Introduction)

'This paper examines the way in which Eva Sallis fictionalises encounters with Europe, Asia and The Middle-East in her three books, Hiam (1998), City of Sealions (2002) and Mahjar (2003). In her narratives, Sallis depicts the migrant experience in Australia and in foreign places to deconstruct definitions of “home”, of being in the world, and construct the space of the cosmopolitan subject that meanders through historical settings and transnational contexts. Thus, Sallis seems to suggest that the relationship between history and literature is intimate, that narrative and history are multiform and bound, respectively acting upon one another, redefining the boundaries of nations and identities. Looking at how Sallis engages with the political realities and tackles the problems of being different to the mainstream, this paper examines the various meanings derived from intercultural encounters, whether such encounters subvert Australia’s settler-history but also its multicultural and post-colonial nature. The novelist’s use of geographic space and displacement as major components of contemporary identity-making, conveys an inclusive approach to otherness and constructs flexible identities out of global and cosmopolitan experiences.'

Source: Publisher's blurb.