Graham J. Murphy Graham J. Murphy i(A87589 works by)
Gender: Male
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Works By

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1 Indigenous Young Adult Dystopias Graham J. Murphy , 2023 single work criticism
— Appears in: The Routledge Handbook of Cofuturisms 2023; (p. 77-86)
1 For Love of Country : Apocalyptic Survivance in Ambelin Kwaymullina's Tribe Series Graham J. Murphy , 2016 single work criticism
— Appears in: Extrapolation : A Journal of Science Fiction and Fantasy , Spring-Summer vol. 57 no. 1/2 2016; (p. 177–196) 'Ambelin Kwaymullina, an Aboriginal writer, illustrator, and assistant professor who comes from the Palyku people of the Pilbara region of Western Australia, has most recently ventured into the popular realm of YA Dystopias with her Tribe trilogy: The Interrogation of Ashala Wolf (2012), The Disappearance of Ember Crow (2013), and The Foretelling of Georgie Spider (2015). Although the Tribe series aligns with the ecological utopia and Bildungsroman, it is more importantly a “teaching story” whose strength resides in its use of the apocalypse and the centralizing of Country as collective tactics of survivance and cultural brokering relevant to the experiences of living in a (post)colonial world.' (Publication abstract)
1 A Genuine Engagement with Reality Graham J. Murphy , 2015 single work review
— Appears in: Science Fiction Studies , July vol. 42 no. 2 2015; (p. 366-368)
— Review of Greg Egan Karen Burnham , 2014 single work biography
1 In(ter)secting the Animal in David Malouf’s Remembering Babylon Graham J. Murphy , 2010 single work criticism
— Appears in: Ariel , April vol. 41 no. 2 2010; (p. 75-88) There is a symbolic moment early in David Malouf's Remembering Babylon (1993) when the nearly-naked Gemmy Fairley, the prodigal 'whitefella' who has grown up amidst mid-nineteenth century Australian Aborigines, tries to bridge a communication gap with the white villagers of a Queensland settlement and strips off the meagre strip of cloth tied at his waist. Gemmy can offer no more than a generally incoherent babble, and that strip of cloth, itself the remains of a jacket, is the only "proof of what he claimed" (Malouf 3) in his wild biographical gesticulations. It is a key moment because it draws attention to a cultural anxiety that is no secret in the novel: the villagers are all uneasy about Aborigines, "those presences they are unable or unwilling to acknowledge" (Brady 95), and Gemmy is a fundamental problem because "the settlers see themselves as a different species from the Aborigines" (Brady 96). Gemmy's appearance reveals an uncomfortable truth: colonial subjects can slip into that Aboriginal realm designated by Western imperial-colonialism as the degenerated Other.' (Author's introduction)
1 Temporal Inoculation in Greg Egan's 'The Hundred-Light-Year Diary' and Robert Charles Wilson's 'The Chronoliths' Graham J. Murphy , 2004 single work criticism
— Appears in: Foundation: The International Review of Science Fiction , Summer vol. 33 no. 91 2004; (p. 72-80)
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