'You’re a dead man if they find you.
'Step back in time to 19th-century London, where intrigue and mystery mix in the world premiere of Jack Maggs. Peter Carey’s best-selling and Miles Franklin Award-winning “reworking” of Charles Dickens’ canonical novel Great Expectations, Jack Maggs comes alive on stage in a sweeping new adaptation by South Australian playwright Samuel Adamson, renowned for his successes at England’s National Theatre with Southwark Fair and The Light Princess with Tori Amos.
'The story follows the enigmatic ex-convict Jack Maggs (Carey’s version of Magwitch) returning to London from Australia and embarking on a relentless quest to find his ‘son’ Henry Phipps, who has mysteriously disappeared. Maggs soon becomes entangled in the web of Phipps’ neighbour, Percy Buckle and his bizarre household, where he makes a deal with young novelist and “mesmerist” Tobias Oates (or is it Charles Dickens himself?) to find Phipps. Oates has other plans though, and in Maggs, might just find the perfect inspiration for his new novel.'
Source: Publisher's blurb.
'As the stage version of his take on Great Expectations opens in Adelaide, the novelist looks back at a right royal kerfuffle – and a memorable encounter with a London cabby' (Introduction)
'The imaginations of convicts in Australia became attuned to the pairing of opposites and this led to strange tensions in their way of representing things. On Norfolk Island the meanings of words were reversed, so that ‘good’ meant ‘bad’ and ‘ugly’ meant ‘beautiful’. This undermining of official meanings produced the argot called the ‘flash’ or ‘kiddy’ language of the colony. Designed at first to keep private sentiments from being inspected, it eventually supported a system of dissident actions called ‘cross-work’ or ‘cross doings’. One word loomed large amidst these inversions: ‘fakement’, meaning booty, forgery or deceit. The verb has more extensive meanings: rob, wound, shatter; ‘fake your slangs’ means break your shackles. It also meant performing a fiction and accepting the consequences of it.' (Publication abstract)
'This article investigates imaginings of Europe in contemporary Australian fiction in order to explore whether (traveling to) Europe provides alternative points of reference to discourses on nation, belonging, and identity beyond the (settler) postcolonial. The article sets out to compare recent works by Peter Carey, Christos Tsiolkas and Gail Jones who narrate Europe against a wide range of backgrounds, covering diverse diasporic, migratory and expatriate experiences, in order to explore the role of Europe as an alternative space, and of European modernities in particular, in the Australian literary imagination. Concentrating on Jack Maggs (1997), Dead Europe (2005) and A Guide to Berlin (2015), the article has a threefold focus: Firstly, it analyses the representation of European spaces and explores how the three novels draw attention to multiple modernities within and beyond Europe. Secondly, it demonstrates how all three novels, in their own way, reveal European modernities to be haunted by its other, i.e. death, superstition, ghosts, or the occult. Thirdly, these previous findings will be synthesized in order to determine how the three novels relate Europe to Australia. Do they challenge or perpetuate the protagonists’ desire for Europe as an ‘imaginary homeland’? Do references to Europe support the construction of national identity in the works under review, or do these references rather point to the emergence of multiple or transnational identities?'
Source: Abstract.
