image of person or book cover 4928287998668253925.jpg
This image has been sourced from online.
y separately published work icon Come Inside single work   novel   historical fiction  
Issue Details: First known date: 2010... 2010 Come Inside
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'A ship is wrecked in 1887 near the small country town of Colego. The sea throws up one troubled survivor who claims to know only her name.

'Glenys Osborne's compelling first novel traces the impact of the loss of the Lucy on the town of Colego and how the tidal pull of this event shapes and disturbs those who come after.' (From the publisher's website.)

Notes

  • Dedication:

    'You mustn't keep pets,' a nameless voice said.../if you aren't prepared to look after them.'/It was a pity nobody had ever said that to God.

    Rebecca West, The Birds Fall Down, 1989 [66], London: Virago, p. 197

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Thornbury, Preston - Northcote area, Melbourne - North, Melbourne, Victoria,: Clouds of Magellan , 2010 .
      image of person or book cover 4928287998668253925.jpg
      This image has been sourced from online.
      Extent: 180p.
      Note/s:
      • Published August 4th 2009
      ISBN: 9780980712025 (pbk.)
VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()

Works about this Work

Empathic Deterritorialisation : Re-Mapping the Postcolonial Novel in Creative Writing Classrooms A. Frances Johnson , 2012 single work criticism
— Appears in: JASAL , vol. 12 no. 1 2012; 'Michael Dodson has commented that the 'repossession of our past is the repossession of ourselves' - yet since the 1980s, the translation of such imperatives within literary and historical colonial archival research has been tightly circumscribed by controversial, often agonistic identity debates. Reflection on the broad emotional imprimateurs guiding intellectual and creative research activity have been muted, variously repressed or backgrounded, voided by (white) shame or tact, and often deferred to Indigenous commentators for framing commentaries. Vehement stoushes between the disciplinary cousins of history and literature have also erupted as part of recent local history and culture wars debates. With hindsight, these seemingly 'emotional' yet supra-rational debates, focusing righteously on entitlement and access to colonial archives, seem to have lacked so-called emotional intelligence and (inter)disciplinary imagination. The arguments of the protagonists have now have been 'tidied away', leaving a subsidence of unscholarly embarrassment in their wake.

I aim to show that despite the problematic inheritance of these public debates, many historians, novelists and cultural critics (Elspeth Probyn, the late Greg Dening, Kate Grenville, Kim Scott and others) have managed to rigorously contest and (re)present colonial archival material without repudiating their own emotional involvement with 'the Australian past' in order to maintain scholarly distance. They have understood, in Marcia Langton's phrase, that 'some of us have lived through it, are living through it. This is not an exercise in historiography alone, and therefore presents problems beyond that of traditional historiography.' My analysis of these writer's commentaries will be contextualised against Langton's idea of intercultural subjectivity, which emphasises a discursive intextuality that can be engaged with equally by black and white artists, critics and writers across the genres. Langton, Dening, Grenville, Scott and others will be shown as thinkers who lead the way in suggesting and/or demonstrating how postcolonial novels can be taught and made.' (Author's abstract)
Off the Top Shelf Catherine Cole , Mark Rubbo , Michael Shmith , Clare Wright , Gig Ryan , 2010 single work column
— Appears in: The Age , 31 July 2010; (p. 24-25) The judges for the 2010 Age Book of the Year Awards provide a summary for the category for which they are responsible and comments on each shortlisted title.
Untitled Adam Rivett , 2010 single work review
— Appears in: Australian Book Review , April no. 320 2010; (p. 63)
— Review of Come Inside Glenys Osborne , 2010 single work novel
Getting off to a Good Start Anson Cameron , 2010 single work review
— Appears in: The Age , 13 February 2010; (p. 29)
— Review of Keeping Faith Roger Averill , 2010 single work novel ; Come Inside Glenys Osborne , 2010 single work novel ; Love Machine Clint Caward , 2010 single work novel
Getting off to a Good Start Anson Cameron , 2010 single work review
— Appears in: The Age , 13 February 2010; (p. 29)
— Review of Keeping Faith Roger Averill , 2010 single work novel ; Come Inside Glenys Osborne , 2010 single work novel ; Love Machine Clint Caward , 2010 single work novel
Untitled Adam Rivett , 2010 single work review
— Appears in: Australian Book Review , April no. 320 2010; (p. 63)
— Review of Come Inside Glenys Osborne , 2010 single work novel
Off the Top Shelf Catherine Cole , Mark Rubbo , Michael Shmith , Clare Wright , Gig Ryan , 2010 single work column
— Appears in: The Age , 31 July 2010; (p. 24-25) The judges for the 2010 Age Book of the Year Awards provide a summary for the category for which they are responsible and comments on each shortlisted title.
Empathic Deterritorialisation : Re-Mapping the Postcolonial Novel in Creative Writing Classrooms A. Frances Johnson , 2012 single work criticism
— Appears in: JASAL , vol. 12 no. 1 2012; 'Michael Dodson has commented that the 'repossession of our past is the repossession of ourselves' - yet since the 1980s, the translation of such imperatives within literary and historical colonial archival research has been tightly circumscribed by controversial, often agonistic identity debates. Reflection on the broad emotional imprimateurs guiding intellectual and creative research activity have been muted, variously repressed or backgrounded, voided by (white) shame or tact, and often deferred to Indigenous commentators for framing commentaries. Vehement stoushes between the disciplinary cousins of history and literature have also erupted as part of recent local history and culture wars debates. With hindsight, these seemingly 'emotional' yet supra-rational debates, focusing righteously on entitlement and access to colonial archives, seem to have lacked so-called emotional intelligence and (inter)disciplinary imagination. The arguments of the protagonists have now have been 'tidied away', leaving a subsidence of unscholarly embarrassment in their wake.

I aim to show that despite the problematic inheritance of these public debates, many historians, novelists and cultural critics (Elspeth Probyn, the late Greg Dening, Kate Grenville, Kim Scott and others) have managed to rigorously contest and (re)present colonial archival material without repudiating their own emotional involvement with 'the Australian past' in order to maintain scholarly distance. They have understood, in Marcia Langton's phrase, that 'some of us have lived through it, are living through it. This is not an exercise in historiography alone, and therefore presents problems beyond that of traditional historiography.' My analysis of these writer's commentaries will be contextualised against Langton's idea of intercultural subjectivity, which emphasises a discursive intextuality that can be engaged with equally by black and white artists, critics and writers across the genres. Langton, Dening, Grenville, Scott and others will be shown as thinkers who lead the way in suggesting and/or demonstrating how postcolonial novels can be taught and made.' (Author's abstract)
VIEW ALL WORKS ABOUT (4)

Awards

VIEW ALL AWARDS (4)
Last amended 9 Feb 2021 10:41:20
Subjects:
Settings:
  • Country towns,
  • 1880s
Newspapers:
    Powered by Trove
    X