Cirrus@Austlit

'This article examines a range of colonial Australian Irish bushranger narratives in terms of their investments in revolutionary republicanism, arguing that these become increasingly contested and compromised over time. Beginning with the anonymously published novel Rebel Convicts (1858), it looks at how the fate of transported Irish revolutionaries is imagined in relation to colonial settlement and the convict system. It then turns to Ned Kelly’s Jerilderie Letter (c. 1879), highlighting Kelly’s rhetoric of resistance and mapping his affinities with Irish American republicanism. John Boyle O’Reilly was a Fenian activist, transported to Western Australia in 1867. His novel Moondyne (1878, 1879), rather than unleashing an Irish revolutionary political agenda, is based instead on an English-Catholic bushranger, and its interest in republicanism is in any case displaced from its Australian setting. Ned Kelly’s execution in 1880 gave rise to a new wave of popular narratives, including James Skipp Borlase’s The Iron-Clad Bushranger (1881), which fictionalises Kelly’s career – embroiling him in Irish Fenian plots – and recasts his political affiliations as criminal characteristics. Rolf Boldrewood’s Robbery Under Arms (1882–3) was also published in the wake of the Kelly saga but is notable for its political conservatism, stripping its Irish-Catholic bushrangers of their revolutionary potential to better serve the interests of a powerful pastoral elite. This conservatism is both challenged and magnified in Rosa Praed’s Outlaw and Lawmaker (1893), which celebrates the career of John Boyle O’Reilly while also re-directing his political radicalism into romance. The article concludes that the revolutionary figure of the Irish bushranger is gradually divorced from any radical agency and relegated to a remote chapter of colonial Australia’s history.'

Source: Abstract.

'William Blake’s articulation of the ‘bounding line’ as ‘the great and golden rule of art, as well as of life’ may seem a far-fetched place to start an examination of the poetics of the fence in Australian poetry. The line’s cosmic necessity and ethical force were being asserted by Blake in the context of a long-running dispute amongst art theorists as to whether outline or colour was the predominant element in the pictorial arts. But my mind reverts to this quotation when thinking about the cathected attitude to lines, boundaries, and fences that is emblematic of the settler-colonial establishment in this country in both its agrarian and suburban contexts.' (Introduction)

'The Jerilderie Letter was written for publication, but it is not a work of literature. It is not history either as it makes no claim to objectivity. It has been called a confession, but it is not one, because the writer expresses no shame, no guilt and no repentance. It is kin to the speeches that once condemned men were allowed to make when they mounted the scaffold where they were to die, in which they told their versions of the events that had led them to that point. The letter’s author, notorious bushranger Ned Kelly, knew when he composed it that he was certain to hang.' (Introduction)