Cirrus@Austlit

'This essay touches briefly on the works of Nam Le, Chi Vu and Dominic Hong Duc Golding, demonstrating how 'they provide a counter narrative to the dominant discourse of the Vietnam/America War in Australia, and, further, how they might pave a central place for Australian diasporic writing in general.' (Source: Introduction, p. 1)

'Two exhibitions titled 'Liverpool/Liverpool : The Skin of Translation' by Elizabeth Day were shown almost simultaneously in September 2010 at St George's Hall in Liverpool UK and in Liverpool, Australia. This fortuitous synchronicity of Liverpool/Liverpool (the shows overlapped for a month) consolidates the circuit of sending and return that characterises the colonial relation. Indeed, the journey Day and her family made from Lancashire to Hobart when she was 10 years old is the very same trajectory she retraced for her show at St George's Hall.'

'...Day invited four migrant writers of various origins - Sarah Day (her sister), Nasrin Mahoutchi, Catherine Rey and Ouyang Yu - to subvert and further overwrite [the] Englishness in the very fabric of garden lawn. Using a system of plaster casts, Day has grown turf over the plaster letters of their texts in a process which is literally a form of underground typesetting.' (pp. 1, 5)

'Australian literary production reflects those nation-specific values and discourses that have been historically constrained and enabled by a complex system of institutions, individuals, practices and values. However, upon entering a foreign literary market through translation, Australian literary narratives are subjected to further constraints imposed by similar agencies within that culture which mediate the processes of selection, translation and critical reception. My analysis of Tim Winton's Dirt Music (2001) enables a greater understanding of how the writer's use of landscape positions him within that post-Romantic tradition of Australian literature that incorporates major Australian writers of prose and poetry such as Randolph Stow, Patrick White, Judith Wright and Les Murray...' (Author's introduction p. 1)