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‘Something New at Hand’ : Australian Literature and the Sacred
2020
single work
criticism
— Appears in: The Routledge Companion to Australian Literature 2020; (p. 274-281) Across the last 50 years, the diverse interconnections between literature and the sacred have been fostered in Australia by creative writers (Patrick White, Randolph Stow, James McAuley, Vincent Buckley, Les Murray, Thea Astley, Kevin Hart, Peter Steele, Judith Beveridge, Tim Winton, Sam Wagan Watson, Alexis Wright, Lachlan Brown, Lia Hills, Omar Sakr), more than by critics. However, more recently, critical and interdisciplinary work has gathered momentum into a subfield of Australian literary studies: literature and the sacred. Buckley’s Poetry and the Sacred (1968) and Hart’s The Trespass of the Sign (1989), along with the work of Veronica Brady, are significant, if wildly different, contributions to the formation of this subfield. Across this same period, Indigenous Australian declarations of sacred belonging to land, both political and literary, have begun to open Australian eyes to the category of the sacred. This chapter focuses on the tensions between secular and sacred domains in Australia, and on the many creative writers and critics whose works embrace diverse traditions, beliefs, and expressions of the sacred.
-
‘Something New at Hand’ : Australian Literature and the Sacred
2020
single work
criticism
— Appears in: The Routledge Companion to Australian Literature 2020; (p. 274-281) Across the last 50 years, the diverse interconnections between literature and the sacred have been fostered in Australia by creative writers (Patrick White, Randolph Stow, James McAuley, Vincent Buckley, Les Murray, Thea Astley, Kevin Hart, Peter Steele, Judith Beveridge, Tim Winton, Sam Wagan Watson, Alexis Wright, Lachlan Brown, Lia Hills, Omar Sakr), more than by critics. However, more recently, critical and interdisciplinary work has gathered momentum into a subfield of Australian literary studies: literature and the sacred. Buckley’s Poetry and the Sacred (1968) and Hart’s The Trespass of the Sign (1989), along with the work of Veronica Brady, are significant, if wildly different, contributions to the formation of this subfield. Across this same period, Indigenous Australian declarations of sacred belonging to land, both political and literary, have begun to open Australian eyes to the category of the sacred. This chapter focuses on the tensions between secular and sacred domains in Australia, and on the many creative writers and critics whose works embrace diverse traditions, beliefs, and expressions of the sacred.
Last amended 27 Oct 2009 13:53:48
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