'The argument of this paper is that Mary Hare, one of the four principal characters in a slightly later novel by White, Riders in the Chariot, is the most pronounced of White's ecological avatars. She is a green interloper in the "glass house" (RC35) of Xanadu, an imposing estate on the outskirts of Sydney, built by Mary's father Norbert. Norbert's metaphysical pretensions, like the metaphysical pursuits of Voss, are deeply anthropocentric and blind him to the ecogenic subject of the ecogenic environment around him. He exploits it or disregards it in his design of Xanadu. The ecocritical content of Riders in the Chariot, and of White's writing as a whole, hardly has been spoken to by scholars. I argue this is central to any discussion of White and, further, that this content is central to White's metaphysical themes.'
Source: Colloquy : Text Theory Critique, no.12 November 2006 Sighted: 12/07/2007
'Although The Salt of Broken Tears and Stormy Weather are set in the Mallee, one depicts a world of heat, dust and salt, whereas the other is an account of one day in the small town of Towaninnie on which the rain is unceasing. A major symbol of the first novel is the salt-lake, and of the second, the fecund greenness of the rabbiter's swamp. This paper will examine the way these two disparate environments affect the novels' characters and influence the narrative, and what both novels suggest about Australians' relationship with their environment.'
Source: Colloquy : Text Theory Critique, no.12 November 2006 Sighted: 12/07/2007'The author considers the reasons for the early dominance of the painting tradition and the later blossoming of both visual and literary art forms in the past half-century.'
Source: Colloquy Text Theory Critique no 12 (2006)
