Böcker i Cambria Australian Literature Series-serien

The Australian writer Roger McDonald is the author of ten novels, two novelisations from and for film scripts, two television scripts, one semi-fictionalised memoir, a collection of essays, and two volumes of poetry. His publication record spans half a century from the late 1960s up until the late teens with his tenth novel, A Sea Chase, published in 2017. His books have achieved a significant record in the Australian list of literary awards and he has gone close to breaking into the major international prizes that distinguish the transnational careers of other contemporary Australian writers such as Thomas Keneally, Peter Carey, David Malouf, and, more recently, Kate Grenville. McDonald s work has been published in London and New York as well as in the key metropolitan markets of his native Australia, and it has been translated into Spanish, German, and Swedish. 1915, his first novel, was adapted into an Australian Broadcasting Commission television series, which was shown on Australian screens in the early 1980s and distributed internationally. McDonald writes about ordinary characters whose lives have often been overtaken by historical forces they do not understand and cannot control. These men and women are commonly defined by whom they know and what they do rather than through the display of extraordinary qualities of mind, sensibility, or virtue. McDonald often situates his characters within foundational Australian historical periods such as the convict period, frontier settlement, the development of the pastoral industry, the Great War, the Golden Age of Aviation, and the Second World War and its aftermath. This later post-war period saw the transformation of Anglo-Celtic Australia by waves of initially southern and eastern European migration, followed by Asian and indeed wider international migration. The emerging multicultural character of the country coincided with the decline of rural Australia and the pastoral industry as the preferred locations for representative Australian types and values. These events or periods are well entrenched within the public memory of a White Australia and that enables McDonald to explore his characters search for purpose and fulfillment within the mythological registers of his nation s postcolonial history. This study focuses on the books (five novels and the fictionalised memoir) in which McDonald has decided to situate his characters search for purpose and well-being within the mythological registers of colonial history. It explores McDonald s investments in story and his developments in idiom and literary form, as endeavors to engage a wider public in the problem of postcolonial settlement. The common narrative problem is the elusiveness of a condition of Being that is well settled in the web of social, cultural, and environmental connections that are necessary for dwelling. McDonald pursues the possibilities for a wider more satisfying sense of human connection but his representations of the common man under the conditions of postcolonial modernity never allow that to come easily.

Australian poetry is popularly conceived as a tradition founded by the wry, secular and stoic strains of its late-nineteenth-century bush balladeers Adam Lindsay Gordon, Henry Lawson and Banjo Paterson, consolidated into a land-based vigour in publications such as the Bulletin. Yet this popular conception relies on not actually consulting the poetry itself, which for well over one hundred and fifty years has been cerebral, introspective, feminine and highly even experimentally religious. Western Christian mystics and Western Christian mystical poets of the classical world, Middle Ages and modern era have been sources of inspiration, influence and correspondence for Australian poets since the writings of Charles Harpur (1813 1868), but there have also been ongoing debates as to how mysticism might be defined, whom its true exemplars might be, and whether poets should be considered mystical authorities. This book dedicates whole chapters to five Australian Christian mystical poets: Ada Cambridge (1864 1926), John Shaw Neilson (1872 1943), Francis Webb (1925 1973), Judith Wright (1915 2000) and Kevin Hart (1954 - ), with additional contextual chapters on their contemporaries and new approaches by Aboriginal poets since the early 1990s. Scholars and students are increasingly disregarding the popular bush facade and reading Australian poetry in terms of the sacred, the philosophical, the contemplative and the transcendent. At a national level this can be traced back to the post-war and 1970s generations of poets and readers who rejected the safe old bush myths for a more relentless interrogation of Australian origins, environments and metaphysics. Yet internationally, as among the general Australian public, the very idea of an Australian Christian mystical poetry seems incongruous with a metaphysically weak bush tradition which asks very little of them. This book casts Australian poetry in a new light by showing how Australian Christian mystical poetics can be found in every era of Australian letters, how literary hostilities towards women poets, eroticism and contemplation served to stifle a critical appreciation of mystical poetics until recent decades, and how in the twentieth century one Australian Christian mystical poet began to influence another and share their appreciations of Dante, Donne, Traherne, Blake, Wordsworth, Bront , Rossetti, Hopkins, Yeats, Eliot and Lowell. Despite parallel international works on British, American and European Christian mystical poets, there has never been a book-length exploration of Australian Christian mystical poets or poetics. This study draws upon eight years of research to not only consider debates around Christian mysticism during the lives of its selected poets, but to also frame its argument in terms of the twenty-first-century Christian mysticism scholarship of Kevin Hart, Amy Hollywood, Ursula King and Bernard McGinn s seminal multi-volume history of Western Christian mysticism, The Presence of God. Simultaneously, Australian literary criticism of the relevant eras as well as in the present are explicitly engaged throughout. This book is a rigorous work of original scholarship which will significantly impact future discussions on the possibilities of Australian literature.

This book is part of the Cambria Australian Literature Series headed by Susan Lever (Australian National University). This collection is a collaborative cross-racial project that brings Anne Brewster, a white scholar of Aboriginal literature, into conversation with Aboriginal writers about a range of issues that arise directly from their work. Brewster explores the various contexts in which these writers write and in which non-Aboriginal readers read Aboriginal literature. The interviews are accompanied by a survey essay (by Brewster) on each writer s work which aims to introduce readers to the main themes and issues of each writer. The book represents a range of writers. It includes highly acclaimed writers whose works are widely recognised (Kim Scott, Doris Pilkington Garimara, Melissa Lucashenko) and other writers whose works are on the ascendancy (Romaine Moreton and Jeanine Leane). Leane and Moreton have attracted some scholarly attention - for example by being set on educational syllabi and having scholarly work published on it and their reputation continues to grow nationally and internationally. The book includes interviews with a number of emerging writers whose work is powerful and compelling but has not yet been taken up widely either because it is new (Marie Munkara) or because there has been a lack of confidence on the part of readers in taking up authors outside the present canon (Alf Taylor). The interviews make a unique contribution to the understanding of Aboriginal literature and of how these writers developed as writers. While many Aboriginal writers write in part for their own communities, they have expressed their strong desire that their work circulate widely among non-indigenous audiences. This book will facilitate the dissemination of Aboriginal literature and will make use of the valuable literary and cultural resources of the writers themselves in order to enrich and expand the understanding of that literature. In these interviews the writers talk about the development of Australian indigenous literature and the conditions which have given rise to their writing. They talk about their childhoods, family histories and the regions in which they have lived. They talk about their education and the books they have read; about the importance of humour, the reasons for their choice of a particular genre and what aesthetic and cultural work they see it as undertaking. They talk about how they conceive of their audiences and issues pertaining to cross-racial scholarship. These are all issues which allow readers to understand their work better. This understanding is further enhanced by the survey essays on each writer s work. Aboriginal literature is a growing field with a rapidly expanding global audience. Unfortunately many students and scholars read only the most recognised and acclaimed writers and betray some hesitation in approaching newer authors. While this book represents three widely recognised writers, it widens the canon of Aboriginal literature by introducing readers to four lesser-known but equally important writers. Non-indigenous readers are sometimes unsure about the ethics of cross-racial reading and research - how to approach Aboriginal literature, how to read it, teach it and write about it. By providing rare and valuable insight into the writers creative process, into the ways in which they conceive of their audiences and readerships, and into their aspirations for cross-racial understanding, the interviews clarify uncertainties and provide direction for non-Aboriginal readers. They contribute to widespread discussions about the ethics of cross-racial reading, research and scholarship. They provide a timely addition to cultural debates within the public sphere beyond the academy and enable us to better comprehend the turbulent times in which we live. This book serves to broaden and deepen current scholarship on the literary works but also to introduce readers to writers they might not have read before. They are both accessible and scholarly. The book also fills a gap by focusing areas of that has been neglected. For example while Lucashenko s novel Steam Pigs has attracted a lot of critical attention, her second adult novel Hard Yards remains largely unnoticed, a situation this book aims to correct. Giving this Country a Memory is an important book for all literature and Australasian collections and well as those of global Indigenous literature.

This study examines the earlier writings of celebrated Australian writer David Malouf, who was awarded the Neustadt International Prize for Literature, the International IMPAC Dublin Literary Award, the inaugural Australia-Asia Literary Award, and the Australia Council Award for Lifetime Achievement in Literature. This book investigates his earlier writings to uncover what the terms poetic , poetic imagination and inner and outer ways imply for his development as a writer. Making use of some of his correspondence, diaries, and drafts of work-in-progress, Yvonne Smith takes into fuller account the way his works relate to each other and to the circumstances in which they were written. By investigating what poetic imagination might mean across the first decades when he was finding his way into a writer s vocation, this sturdy reaps fresh insights into the nature of David Malouf's creativity its tensions, struggles and moments of breakthrough, as well as its potential limitations. Finding what he could not do (or did not want to do) shapes strongly what he wants to achieve by the mid 1980s when his published works are becoming better known. Such considerations are touched on in earlier studies, yet have been sidelined by more recent criticism informed by postcolonial perspectives, debates about myths of origins and other Australian nation-based agendas. That Malouf has played a part, not only as a writer but as a public intellectual, in what Brigid Rooney terms his consistent cultivation of nation adds to this trajectory in his literary career. However, there has been less attention to Malouf s development as a writer its transnational dimensions, for instance, as he finds his vocation through hybrid family cultures and living for many years between Australia and Europe. It is helpful that discussion is increasingly balanced by broader views of what Australian literature might encompass, of global connections in worlds within national narratives, together with consideration of notions of world literature and a fluid transnation that exceeds boundaries of the state.

Thea Astley (1925-2004) was one of the outstanding Australian fiction writers of the 20th century. Four of her novels, including her last, Drylands (1999), won the prestigious Miles Franklin prize, and she was awarded numerous literary and civic honors during her lifetime. The distinctive appeal of her work comes from its unique sense of place, in tropical Queensland and the South Pacific, and from the mordant irony of her gaze on Australian society and her fiercely compassionate portrayal of social outsiders. Place and people reflect one another as Astley deals in climatic extremes both geographical and emotional: living on the edge of the cyclone , her people face the threat of personal annihilation with the frail weapons of irony, satire or anarchic humor. Despite the deeply Australian objects of her satire, Astley s innovative fictions have attracted critical attention beyond national boundaries, and her later work, especially, struck a chord with readers in North America. Astley felt strong affinities with a number of American writers, especially practitioners of shorter fiction like Hemingway, McCullers and Carver. Her work suggests comparison with that of William Faulkner, for the way it always inhabits the same imagined location. Place, and the parish of people who inhabit a particular place, are Astley s persistent subjects. Her landscapes, whether the luxuriant coast or the dry inland, become metaphors of the human failings that preoccupy her; and, as she deepened her interest in the history of these locations, Astley imbued her landscapes with a necessary political dimension. Astley s fiction challenged the realist tradition that had dominated Australian writing in the first half of the twentieth century. In the postwar literary world where she began to publish she was readily accorded a place among the Australian mid-century modernists like Randolph Stow and Patrick White, who was an admired early mentor. She was the only woman novelist of her generation to have won early success and published consistently throughout the 1960s and 1970s, when the literary world was heavily male dominated. As a fiction writer she had few female contemporaries until the 1980s, when second wave feminism began to have a significant impact. Astley s choice of focal characters, and the objects of her satire, changed to reflect that impact. Always a writer who avoided solemnity and undercut her characters claims to heroism of any kind, she reveled in the new-found capacity to mock male pretension and assert female rebellion. This study of Astley s fiction explores her representation of place and power relations, and the innovative work of historicizing place. It also examines how her works reveal her fascination with outsiders, misfits, and failures, as well as her skepticism about heroes. The book also examines how Astley's works delve into decolonization and bring a multilayered postcolonial perspective on colonial race relations. The book takes the reader all the way to the latter part of Astley's writing career, which amply demonstrates her capacity to bring together a critical exploration of patriarchal power relations and a postcolonial perspective on race relations, as well as her satire on the worship of unbridled development which dominated Australian economic and social life during this period.

Christina Stead (1902 1983) was an Australian novelist and short-story writer acclaimed for her satirical wit and penetrating psychological characterizations. Stead enjoyed an international reputation in the 1930s and beyond, then went out of favor as a communist-affiliated writer, until she was rediscovered by feminist critics. Her standing is considerable, and in Australia she vies with Patrick White for the laurel of finest Australian novelist. In this book, author Michael Ackland argues that the single most important influence on Stead s life, socialism, has been seriously neglected in studies of her life and work. Ackland delves into Stead s political formation prior to her departure for London in 1928, arguing that considerable insights can be added to the known record by reviewing these years within a specifically political context, as well as by interrogating Stead s own accounts of key persons and events. He examines her novels, from Seven Poor Men of Sydney to I m Dying Laughing and The Man Who Loved Children, and focuses on Stead s conception of history, of capitalist finance, and on the significance of the key historical moments that frame her works. In tracing the trajectory of her work, Ackland illuminates how Stead was, as a well-informed Marxist critic underscored, a product of thirties. Steeped in socialist literature and steeled to withstand ideological adversity, Stead emerged at the end of the decade a strongly committed novelist, whose intellectual idealism and convictions could, as coming decades would show, long withstand privation, heartbreaks and the unwelcome lessons of history. This is an important book for collections in Australian literature, comparative literature, world literature, and women's studies.

More than two decades ago, Christos Tsiolkas s his first novel Loaded was published and he had achieved a cult following in the short-lived grunge fiction scene of Australian writing. The novel was quickly adapted as the film Head On (1998), directed by Ana Kokkinos, and starring popular young Greek actor, Alex Dimitriades; like the novel, it was well-received by critics, if not by mainstream literary and cinematic culture. For the next few years, Tsiolkas worked on Jump Cuts, an experimental collaborative autobiography, with Sasha Soldatow (1996), as well as a number of theatre productions Who s Afraid of the Working Class? (1999, co-written with Andrew Bovell, Melissa Reeves and Patricia Cornelius, and adapted to film as Blessed, also directed by Kokkinos [2009]), Thug (1998, written with Spiro Economopolous), and Elektra AD (1999) but when The Jesus Man (1999) was published, its violent depiction of depression and suicide received critical attention as offensive and unnecessary. Partly because of the reception of The Jesus Man, and partly because of the density of its subject matter, his next novel, Dead Europe (2005) took six years to write. In the interim, he published a critical study of the film The Devil s Playground (2002), and several more plays and screenplays: Viewing Blue Poles (2000), Saturn s Return (2000), Fever (2002, co-written with Bovell, Reeves and Cornelius), Dead Caucasians (2002), Non Parlo di Salo (2005, written with Economopoulous), and The Hit (2006, written with Netta Yashin). Dead Europe was a triumphant return: it won the Age Book of the Year and the Melbourne Best Writing Award in 2006. But it was the extraordinary critical and commercial success of The Slap (2008) which entirely changed Tsiolkas s personal and professional circumstances. It was the fourth-highest selling book by an Australian author in 2009, won the ALS Gold Medal, was longlisted for the Man Booker Prize, shortlisted for the Miles Franklin Literary Award, won the Commonwealth Writers Prize and was Book of the Year for both the Australian Booksellers Association and the Australian Book Industry Award. The Slap was also adapted as a popular television series for the ABC in 2011, and for NBC in the United States in 2015. For the first time in his career, Tsiolkas was able to dedicate himself to writing full-time, but the attention paid to the novel also meant that Tsiolkas was now a household name no longer a cult writer, his opinions are now courted and offered in popular and political publications. Barracuda (2013) follows the social realism of The Slap, and sold similarly well, riding on the back of its extraordinary predecessor. Merciless Gods (2014), a collection of short stories, some new, some previously published, is only recently being taken up by popular critics. Tsiolkas s work has become increasingly popular and appealing to readers outside of the academy. Tsiolkas s works adopt a Modernist attitude to the concept of a utopia a negative politics which simultaneously draws attention to the insufficiency of the present, a pastoral nostalgia for the past, and a longing for the impossible future to come. This first in-depth study of his entire corpus provides an understanding of Tsiolkas s position in relation to Modernism, thereby drawing out his points about character, setting and politics, thereby helping us to think about what place his ideas about the individual and the community might have in our reading of contemporary Australia and contemporary world literature.