'He asked the water to lift him, to carry him, to avenge him. He made his muscles shape his fury, made every stroke declare his hate. And the water obeyed; the water would give him his revenge. No one could beat him, no one came close.
'His whole life Danny Kelly's only wanted one thing: to win Olympic gold. Everything he's ever done - every thought, every dream, every action - takes him closer to that moment of glory, of vindication, when the world will see him for what he is: the fastest, the strongest and the best. His life has been a preparation for that moment.
'His parents struggle to send him to the most prestigious private school with the finest swimming program; Danny loathes it there and is bullied and shunned as an outsider, but his coach is the best and knows Danny is, too, better than all those rich boys, those pretenders. Danny's win-at-all-cost ferocity gradually wins favour with the coolest boys - he's Barracuda, he's the psycho, he's everything they want to be but don't have the guts to get there. He's going to show them all.
'He would be first, everything would be alright when he came first, all would be put back in place. When he thought of being the best, only then did he feel calm.
'A searing and provocative novel by the acclaimed author of the international bestseller The Slap, Barracuda is an unflinching look at modern Australia, at our hopes and dreams, our friendships, and our families.
'Should we teach our children to win, or should we teach them to live? How do we make and remake our lives? Can we atone for our past? Can we overcome shame? And what does it mean to be a good person?
'Barracuda is about living in Australia right now, about class and sport and politics and migration and education. It contains everything a person is: family and friendship and love and work, the identities we inhabit and discard, the means by which we fill the holes at our centre. It's brutal and tender and blazingly brilliant; everything we have come to expect from this fearless vivisector of our lives and world. ' (Publisher's blurb)
Barracuda
( dir. Robert Connolly
)
Australia
:
Matchbox Productions Pty Ltd
,
2016
8569798
2016
series - publisher
film/TV
'Based on the book of the same name by Christos Tsiolkas, Barracuda follows young Olympic hopeful, Danny Kelly, as he deals with the pressure of obsession.'
Source: Screen Australia.
Epigraph:
And now tell it to me
in other words,
says the stuffed owl
to the fly
which, with a buzz,
is trying with its head
to break through the window-pane.
-The Best Room, or Interpretation of a Poem,
Miroslav Holub
Dedication:
For Angela Savage
The Slap
Crows Nest
:
Allen and Unwin
,
2008
Z1739894
2008
single work
novel
(taught in 40 units)
'At a suburban barbecue, a man slaps a child who is not his own.
'This event has a shocking ricochet effect on a group of people, mostly friends, who are directly or indirectly influenced by the event.
'In this remarkable novel, Christos Tsiolkas turns his unflinching and all-seeing eye onto that which connects us all: the modern family and domestic life in the twenty-first century. The Slap is told from the points of view of eight people who were present at the barbecue. The slap and its consequences force them all to question their own families and the way they live, their expectations, beliefs and desires.
'What unfolds is a powerful, haunting novel about love, sex and marriage, parenting and children, and the fury and intensity - all the passions and conflicting beliefs - that family can arouse. In its clear-eyed and forensic dissection of the ever-growing middle class and its aspirations and fears, The Slap is also a poignant, provocative novel about the nature of loyalty and happiness, compromise and truth.' (Publisher's blurb)
'I was offered the opportunity to translate The Slap by Christos Tsiolkas into Czech in November 2010, two years after its original publication in Australia. The offer came from the publishing house Host, a growing and quite prestigious publisher focusing on original Czech poetry and fiction and quality literary translations of various genres. I was considered suitable because I had at the time five translations of full-length novels under my belt. The publishing house also relied upon my knowledge of the Australian context and my ability to conduct research in areas unfamiliar to me as I was a student of comparative literature in a post-graduate programme. Therefore, it entrusted me with a novel as complex and extensive as The Slap. There was also a very personal reason why the publisher picked me: like Tsiolkas, I have Greek ancestry, and the publisher thought that this, in particular, would help me understand the Greek dimension of Tsiolkas’s novel. After The Slap, I also translated Barracuda into Czech in 2014 – the last book by Tsiolkas published in Czech to date.' (Publication abstract)
'This article considers the way in which elite swimming in Australia constitutes a system of identity to frame the privileging of heterosexuality, able-bodiedness and hypermasculinity in Christos Tsiolkas’s novel Barracuda (2013) and its television adaptation (2016). It argues that the two versions of the story offer very different sporting narratives: a migrant, working-class, gay body in the novel, the complexity of which is never fully realised on screen. The article shows how the television adaptation of Barracuda reshapes the novel’s atemporal structure into a linear progression of rise, fall and redemption, and that under these narrative conditions Daniel Kelly’s body becomes simply object, rather than embracing the subjecthood he is permitted in the novel. The effect is one of compulsory normalisation and erasure: of Danny’s queer body, of Dennis’s and Martin’s damaged bodies, and of the consequences of Danny’s criminal act. This process parallels similar attitudes towards Australia’s most elite athletes and the public ownership of their body narratives.' (Publication abstract)
'This article takes up a specific feature of Christos Tsiolkas's writing, his style. Focusing on Tsiolkas's fourth novel, The Slap, this article argues that Tsiolkas’s style is an inarticulate style: a style that does not always use the right word at the right moment, that employs language for narrative utility rather than its own sake, and that sporadically departs from standard usage and correctness in ways that do not appear artistically motivated. My argument is that The Slap is notable among contemporary fiction in that what I consider to be Tsiolkas’s worst sentences are the most revealing of his inclinations as a novelist. Consequently, I depart from what has become a standard formula in Tsiolkas's reception, that where Tsiolkas succeeds as a writer he succeeds in spite of his style. Finally, this article also contributes to recent debates about the purpose and vocabulary of Australian literary discussion: how critics debate the work of a prize-winning author, how criticism and praise operate in critical judgements, and the significance of style in evaluations of literature.' (Publication abstract)
