The Misery of Dave Milne: A play adapted by Jeff Milne from recordings of Dave Milne in the last six

Jeff Milne, United States, Paperback. This is a play about Dave Milne (an immigrant, adapted by his son, from recordings made of Dave in the last six.
Table of contents

With its heavy focus on drama, the volume will be a particularly valuable resource for theatre scholars at all levels. The Dark Edge of African Literature places its emphasis on conflict and violence, featuring chapters on a range of continental African writers, of which essays on Chin Ce and Femi Osofian will be of particular interest. Identity Quest , pp. Along with its moving tribute to Kofi Awoonor, discussed above, ALT 32 includes another article on the abiku: Fictionality in Global Contexts , pp. Genre fiction became a focus of scholarly enquiry in Drawing on the theoretical work of Homi K.

Bhabha, Ochiagha argues that these stories provide an intricate negotiation of identity through colonial mimicry. Both replicating and subverting the generic conventions of the boarding-school novel, these two stories dramatize the simultaneous pull of the colonial school and indigenous collectivities. Akintan as a means of rethinking cosmopolitanism through its territorially specific instantiations during the era of amalgamation and nation-formation.

It was a particularly remarkable year for Eastern African letters as it saw the inaugural issue of the first regional journal dedicated to Eastern African writing— Eastern African Literary and Cultural Studies. The first volume offers an exciting range of material. The narratives capture this tension through a cyclical, fragmented, episodic poetics that discloses as well as withholds information and in this way eschews narrative certainty. Of Ships, Trains and Planes in M. The ship connects Africa to India, the railway is the reason for indentured Indian presence in the region, and air-travel opens up possibilities of travel and connectivity to the UK and Canada.

Reading, Materiality, and Meaning in M. Back with the new journal, M. Vassanji recalls the post-independence enthusiasm of Asians to embrace Africanity: Vassanji draws a rich canvas of a moment in time when Asian participation flourished and new categories of Asian African identities were tested. The article ends with sketching the end of this historical window and the departure of most East African Asians from the region.

A number of scholars grappled with aspects of life-writing from the region. Otieno emphasizes a familial history of political engagement and resistance to colonial oppression, which she traces all the way back to her great-grandfather, Waiyaki wa Hinga. With a particular focus on gender, Bruce-Lockhart investigates how discourses of insanity seek to contain and limit the political agency of female detainees during the final years of the emergency period.

This paper is significant as it considers new documentary evidence released from the Hanslope Park Archive since that sheds light on colonial carceral systems and on women not just affected by the guerrilla-style insurgency but as active participants: These views also affected the way in which the largely ineffective rehabilitation programmes were implemented in the camps: In contrast, political parties on the fringe and Zanzibari accounts of the January revolution contest this iconography in order to draw attention to the fragility of national unity.

She analyses her own English translations of Swahili poetry, which appeared during the mourning period in in Uhuru , the paper established by the ruling party. While the glorification may be a way to deal with the loss, Mhina also asserts that it foreclosed the possibility of voicing some of the controversies of his legacy p. However, some of the poets use this platform to make suggestions for the future p. The Episteme of the Everyday , pp. It embodies a complex interface between history, fiction, and autobiography and is an example of the Kwani generation of writers whose work defies simplistic categorization by straddling the canonical-popular divide.

Rather than producing an alternative public sphere, Batuuze generates connections and opportunities in the lives of the young men affiliated to this movement. The three authors, Lotte Meinert, Juliana A. Obika, and Susan Reynolds Whyte, reflect on their work with a community in war-torn northern Uganda, where, in collaboration with Danish installation artist Tove Nylom, they collected personal voice accounts of trauma and forgiveness and audio-edited them; then presented them to the community as part on an initiative named Timo Kica: African Studies Review features tributes to Ali Mazrui, who passed away a few months after the publication of the journal, in October Adem suggests that among the reasons behind his marginality is his rejection of a jargon-heavy, theoretically abstract style which was the norm at a certain point, coupled with his prolific writing and mercurial shifts of interest, which make it difficult to quickly distil his core ideas and his propensity for semi-autobiographical writing.

This year saw two landmark studies that have shaped Eastern African scholarship republished: She painstakingly compiles historical documents that evidence the human rights violations suffered by the more than one million Kikuyu detainees. Blommaert has included new empirical material and expanded his theoretical framing. At the heart of this path-breaking study lies a paradox: To account for this apparent contradiction, Blommaert shows how Swahili became inextricably intertwined with the political socialist project of Ujamaa.

When the influence of Tanzanian socialist politics declined, Swahili was regarded similarly as a failed project, contrary to the linguistic evidence so abundantly available. Government was instrumental in the spread of Swahili, but it soon lost control over the language. The book provides significant sociolinguistic evidence to show that Swahili is a diversifying and dynamic language. Of particular interest to literary studies is chapter 5, which focuses specifically on Ujamaa literature and the way in which cultural philosophy entered the literary text pp.

Colonialism, Literature and Law [], examines how violent anti-colonial struggles and the legal and military techniques employed by colonial governments to contain them have been imagined in literature. Central to this containment is the suspension of the law during periods of emergency which, rather than the exception, were often the norm in how colonial governments controlled their territories. The book consists of six main chapters framed by an introduction and a conclusion. The case studies in Part I deal with colonial Ireland and colonial India in the late nineteenth century; Part II considers twentieth-century states of emergency in apartheid South Africa, colonial Kenya, and Algeria.

Part III, on Israel-Palestine, offers an assessment of the continuities between these colonial states of emergency and how they are reconfigured in the colonial present in Iraq, Afghanistan, and northern Pakistan. Morton compares the legal and bureaucratic rhetoric of colonial statutes and other documents with the narrative structure and imagery of the literature and culture of empire across a range of settings. These rhetorical discursive strategies, in turn, are questioned by the literatures of decolonization.

The book is thus highly relevant and is written in an engaging and readable style. Lorcin has a comparative focus as well. She analyses novels, memoirs, and letters of women settlers of both colonies in order to identify images and tropes that shape and reshape colonial nostalgia: The needs of the present in which the women find themselves shape their representations and fantasies of the past.

Lorcin presents her analysis chronologically and divides her study into three parts. African Storytellers of the Karamoja Plateau and the Plains of Turkana uses the Jie and Turkana myth of origin as a springboard to exploring the place of storytelling in indexing social memory, navigating shifting realities, and articulating ethnic and individual identities.

In this myth, Nayeche, a Jie woman, follows the footprints of a grey bull across the East African plateau and eventually sets up the cradle land of the pastoralist community in the Turkana plains. An important concern for the book is the role of a collectively remembered past encoded in storytelling in shaping identity and crafting unity among a community of people, which further mediates the sharing of land resources, as underwritten by shared ancestry. Three important firsts and an important historical recovery make up the crop of book-length publications from Southern Africa this year.

Corinne Sandwith has restored to the record a hitherto forgotten but vital body of left-wing cultural and literary criticism from the very early years of apartheid. The stark division between insiders and outsiders appears justified by her survey of the novels: These democratic elements in tradition have become, says Lederer, an important part of the morality which contemporary writers in Botswana present to their readers. The value of traditional ways is actively, if not didactically, exemplified by writers such as Andrew Sesinyi and Galesiti Baruti, neither of whose work may be known abroad.

It tells of the trials and success of a poor young man from a rural background who loves and eventually marries when her family recovers its traditional values a rich young urban woman. Sesinyi has written two other novels: Rassie [] and Carjack []. All of these novels reflect the impact on women of social change. Rush worked for four years as director of the Peace Corps office in Botswana. The list could have included Hilary Mantel, who spent time in Botswana and whose novel A Change of Climate [] draws on the Law Reports of Botswana as well as her observations there.

As a member of the British diplomatic corps in South Africa, Monsarrat had to deal with many of the problems that arose from resistance to that marriage and consequently, Lederer suggests, he tended to think of Botswana as always on the brink of self-destruction. A writer with a similar approach is K. In The Night of the Predator [] by Christopher Sherlock, Botswana is a land which the protagonist dreams could become a vast game reserve, a peaceful alternative to the horrors of political turmoil in the neighbouring South Africa of the s.

Again it is a dream which ignores the people of the country. British journalist and satirist Nicholas Luard wrote two novels set in Botswana, Silverback [] and Bloodspoor []—the latter under the pseudonym James McVean. What the series, beginning with The No. It is a capacity disappearing from modern life. Mma Ramotswe may be a Lady Detective, but she does not solve crimes so much as sort out problems, and novels featuring her do not tackle big issues such as AIDS but they do tackle matters such as the dishonesty that leads both to the spread of the disease and the silence that surrounds those who suffer.

A new Botswanan novelist writing crime fiction is Lauri Kubuitsile, who has published two novels to date: The Fatal Payout [] and Murder for Profit []. Her fiction is racy and escapist—the first one was written for serialization in a local newspaper—but reflects many of the issues affecting contemporary Botswana: Although born in South Africa, Bessie Head lived most of her adult life in Serowe, did most of her writing there, and gradually made it the place through which she understood and represented herself and her immediate and larger worlds.

Unity Dow is a human rights activist and a former justice of the High Court of Botswana; Bessie Head lived much of her life in obscurity and poverty. The Screaming of the Innocent [] deals with ritual murder and uses a young woman protagonist who is not circumspect or tolerant of patriarchal tradition in her determination to solve a case that the police have allowed government officials to cover up.

The fourth novel, The Heavens May Fall [], is episodic in telling of a young woman lawyer and the difficult cases she encounters; one is of a man, prominent in his community, who has passed as a MoNgwato all his life by hiding the fact that he has a San mother. The protagonist learns just in time that justice would probably not be served were she to reveal the truth. Long recognized as a major writer in Afrikaans, Antjie Krog is now receiving sustained attention in English-language literary criticism in South Africa, and Antjie Krog: An Ethics of Body and Otherness indicates the level of engagement with her work.

It began as a guest-edited issue of Current Writing in and now appears in expanded and more focused form, again edited by Judith Coullie and Andries Visagie. Six of the original essays have been included, with the other seven being specially commissioned.

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A Selection of Translated Poetry [] is also not studied because it appeared just as this volume was going to press. Louise Viljoen, a distinguished Krog scholar who publishes in Afrikaans as well as English, has two essays in this collection. In her second essay, Viljoen takes up a related line of discussion that is also important throughout the volume: This central ambiguity enables an ethical outlook to flourish, however unlikely that may at times seem.

They combine their trans-disciplinary skills to work on what the official TRC record suggested was an incomprehensible testimony given by the mother of a young man killed by the secret police. The anger is not difficult to place but the delight is challenging: As the preceding essays indicate, the matter of cultural as well as linguistic translation pervades the volume, but one or two other topics and writers warrant mention.


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Anthea Garman has two contributions: Potentially there is considerable conflict: Susan Spearey describes her reasons for teaching Country of My Skull to students in Canada and the steps that she took to enable them to engage ethically with the harrowing TRC testimonies. This kind of forgetting was accompanied by her decisions to foreground other material, for example, the testimony of women.

In the remaining essays, processes of cultural translation become more specifically linguistic. Visagie sees this as making an important political gesture. Letters —99 , published by David Philip in This is a pity because Schreiner readers and new scholars should be given as much guidance as possible to what of her writing is available. When she died, 15, to 20, letters existed, but many were destroyed by her then estranged husband after he had written a biography; the letters that survive today are scattered in archives and private collections around the world, as an appendix shows.

The thirty-year span of the letters is divided into ten sections and the editors have written informative introductions to each as well as a general biographical introduction. This was at a time when the country was on the brink of war between British and Boer, and virtually no one in public life gave a thought to the rights of African people.

As a woman, Schreiner herself had no political rights and had to seek influence behind the scenes through her letters and her published writing. It caused a furore, and the letters now offer an opportunity to read how her views on Rhodes developed. Her view is of historical and current interest in the light of the Rhodesmustfall campaigns. At the same time as she was approaching public figures about Rhodes, Schreiner was warning members of her family not to trust him. Her brother Will, who would become prime minister of the Cape in , was a Rhodes supporter until the Jameson Raid of —6, and her constant fear was that he might have taken insider advice from Rhodes on how to invest his money a favour which could easily have been called in.

Shortly after being assured that this had not happened, she wrote in June to Will: I speak from the depths of bitter experience [ original emphases] …. I am a one adult one vote man. Her own far-sightedness had led Schreiner to understand oppression in class as much as in racial terms. The Colonial Heroine Comes of Age pp. Treagus sees Schreiner shifting from utter rejection of Victorian literary and spiritual values to a profound ambivalence in which the writer is both compliant with and resistant to patriarchy and imperialism.

When a pregnant Lyndall refuses to marry her Stranger, the story invokes debate on marriage as legalized prostitution and garnered considerable support from women and men reviewers alike, even though current critics have questioned the balance of power in her sexual relationship because it seems so conventional. Gregory Rose, in his transvestite nursing of the dying Lyndall, is one of the most puzzling features of the novel. Although many readers will not recognize the connection, Treagus says much can be understood about Gregory Rose by considering his being named after a fourth-century saint, Gregory Nazianzen, who was much concerned with the maintenance of gender boundaries p.

From Man to Man works with these pointers from the Wollstonecraft essay: Sandwith gives a subtle, probing, and wide-ranging theoretical analysis of early critical methods which, along the way, reveals its relevance to debates of today. Her work will be invaluable not just to those wanting to know more about the publications and writers she has studied but also to those interested in following the carefully theorized and historically situated analysis of an intellectual movement.

The texts and public forums that provide the material with which Sandwith works are magazines from the s such as South African Opinion and Trek ; the forums and publications linked to the Non-European Unity Movement NEUM ; the newspapers and forums that reflect the views of the Communist Party of South Africa CPSA ; a small community news-sheet, The Voice of Africa ; and a number of s newspapers and magazines that reflect the views of the Congress Alliance.

Her study also draws on book history and the history of reading. SA Opinion debated the creation of a South African literature in English, the proper subjects of art, and the social role of the artist. The new literary editor was Herman Charles Bosman now mostly remembered for his short stories , and much attention was given to forging a truly South African culture. For writers in English, this project gradually centred on the concrete particularities of place, and Sandwith gives a brief but fascinating account of what transpired and what was omitted in their desire to capture a symbolic landscape.

There were some socially conscious, left-leaning critics who objected, in SA Opinion , to the occlusion of African modernities from this preoccupation with landscape and the reification of African rural life in painting as in poetry, but their comments were largely ignored by Bosman who, in a time of growing postwar conservatism, was crusading for artistic freedom, autonomy, and individuality.

In the mids, Trek , under the iconoclastic editorship of Jacques Malan, hosted an energetic public discussion of the value of Marxist criticism, the relationship between culture and social justice, and the role of the artist in social change. Echoing international debates, its cultural criticism diverged from the canons of Soviet socialist realism p. Writing from Britain and America received attention, as did the literary left of Europe although literary modernism was not enthusiastically viewed.

Trek also developed its general ideological position in dialogue with social commentary in South Africa, and Sandwith gives particular attention to the debates in its pages between regular contributors and certain academics espousing the literary and cultural approach of F. Politics again emerges as a nodal point: Trek ended its life shortly after Rand Mines brought a massive libel action against it over two articles about the conditions of employment of African mineworkers. Malan resigned rather than submit to an editorial board of control. Dora Taylor, who is the subject of chapter 3, was the most prolific of the contributors to Trek during the s.

Tabata on his projects. Membership of these groups meant that her writing and teaching on cultural and literary matters was done largely at their behest. In her literary reviewing, Taylor introduced her readers to the classics of the European, American, and British traditions, using a Trotskyite perspective to indicate their value, and she assessed the writing of South Africans, black and white.

Olive Schreiner was one of the writers Taylor admired for her unending questioning of received dogma and opposition to the authoritarianism of colonial life. The isolation in which Schreiner conducted her quest for the truth was in stark contrast to the community of ideas p. She did not, however, believe that culture could be a weapon in the revolutionary struggle, for that would be to force art to solve problems outside its legitimate sphere p. The Dhlomo brothers were mission-educated, and about this time Dora Taylor published, under the pseudonym Nosipho Majeke, The Role of the Missionaries in Conquest [].

While this debate tended to map onto a class hierarchy in Europe, in South Africa it also had the potential for a racialized hierarchy within the coloured group and a sharp division between coloured and African peoples. Younger activists took exception to this moderate position.

Sandwith next turns her attention to the South African Communist Party and the relationship between politics and culture in its s publications. The Left Book Club and the Guardian newspaper were two of the chief means by which a favoured ideology and cultural activities were promoted. Although never a card-carrying member, styling himself an independent revolutionary, Cope was a presence in party activities as a writer, lecturer, and public speaker; he wrote a biography of veteran trade unionist W. Andrews and, after the voluntary dissolution of the party, he continued to be active in the various organizations that took its place.

To this point, most of the publications and other records that Sandwith has studied are from the Cape, but in her last chapter she turns to Johannesburg, first to a publication from Orlando now in Soweto which appeared from September to June The second Johannesburg focus is on a cluster of publications circulating the views of the Congress Alliance: Spark , Liberation , and Fighting Talk — The last was most explicitly engaged with cultural matters it also published short fiction and poetry , and was for some time edited by Ruth First.

These publications theorized cultural entanglement and the formation of hybridized identities. This was possible in the early years of apartheid when material co-operation and alliances against the divisions of apartheid were still functioning. Among the journal articles from South Africa this year we have two on the evergreen Heart of Darkness. Coetzee also continues to feature in South African literary criticism, but in the first instance the focus is on autobiography and philosophical content rather than on any localized reference.

Dimitriu suggests that Coetzee is exploring the oxymoron of secular spirituality as apt to our uncertain times. She argues that, while the various forms of religion in South Africa can constrain the rights of sexually nonconforming believers, and while oppression arises from the fact that public opinion lags behind the rights granted in the constitution to individual sexual orientation, these texts also reveal that such believers can establish meaningful spiritual and intimate lives.

The former is a semi-autobiographical novel about a political refugee from Angola and the latter a one-man play about an economic migrant from Zimbabwe. While they join a growing number of texts featuring migrancy to and in South Africa Fasselt mentions some fifteen titles , they are unusual in presenting matters from the point of view of the migrants themselves. Fasselt considers the potential for this narrative angle to be liberatory and to invoke a spirit of Afropolitanism, but says that on the whole xenophobia continues to divide South Africa from the continent, state functionaries are depicted as still brutal in their exercise of power, and practices of exclusion continue.

Working from the early comments of the Afrikaans poet N. The title is an allusion to the judgement of some that Jensma was deranged, and to the rumour that after his disappearance in the early s he was executed in an unknown spot. The novels are set in the latter years of the nineteenth century but reflect the socio-political concerns of the time in which they were written: He observes that it is a neglected text and argues that it interrogates the position of women—motherhood, forced marriage, girlhood, exile, and voicelessness—silenced under patriarchy.

There are two articles on novels in this special issue. Many of the contributors are established Head scholars, some of them pioneers in the field. He suggests that from a traditional African perspective and from that of the mystic Desert Fathers of North Africa, the kind of consciousness presented in the novel would not seem strange.

A Question of Power in the 21st Century: Starting with the idea of a nightmare soul journey, she finds several other signposts, as well as the image of fermentation in which creative and disintegrative elements are inseparably combined, which might act as a guide to the conflict between good and evil that occupies the narrative.

This correspondence has subsequently been published in Everyday Matters: Australian literary studies in saw recently popular areas of interest David Malouf sustained, older areas Patrick White renewed, and a surprising assortment of new approaches moving beyond textual analysis to consideration of theatre-making and varying kinds of print culture, book history, and reception studies. The final chapter shows us what we have not often seen: Wild Bleak Bohemia feels uncomfortably stuck between the academic and the popular. It forgoes chapter divisions, substituting short sketches, each tied to specific archival and documentary accounts of events which range from the rollicking to the curious to the banal.

It would be a shame, though, for this fascinating book to be ignored. Wilding patiently draws an account of each of its subjects, from expatriate Clarke , or jockey Gordon to the progeny of missionaries Kendall and their progress to becoming men of letters. The Life and Work of C. Dennis aims to tell this later story fairly comprehensively, and largely succeeds.

From a child born in a pub, coddled by aunties, Dennis wrote his first verses as a boy, before proceeding to a literary apprenticeship writing for and then running such journals as the Critic and the Gadfly. The Emergence of Australian Literary Culture. Igor Maver has read postcolonial literature from his base in Ljubljana, Slovenia. These essays often fail to rise above the level of a book review. Many anglophone scholars will, however, find the work of s globetrotter Alma Karlin a revelation, and the Slovenian perspective that shapes the whole book is itself a significant intervention in the field.

The limitation of this is that the familiar themes realism, masculinity, spirituality, settler colonialism are again rehearsed. However, most of the chapters provide clear and useful readings of the main texts and a few give interesting extensions to existing critical opinion. Male insecurities expressed as confessions are vented or resolved on the bodies of female partners, represented as ambiguous, unknowable others. The point is left hanging, but a bit of historical context would show how Keneally and Carey, film and tourist promotions had prepared the way for such an unusual US tolerance of the foreign.

Editors often have to take what they can get from contributors, and there are some gaps in this collection: Shirley Hazzard garners well-deserved attention in a new volume edited by Brigitta Olubas. Like Winton, Hazzard is a successful writer who remains an under-investigated scholarly resource. Shirley Hazzard devotes two sections of two to three essays each to the major mid-career works of the author— The Bay of Noon and The Transit of Venus. Intertexts show that the fascist past of Italy must be grappled with, even in a contemporary celebration of its cultural contribution.

Sharon Ouditt remains with regional space: If Australian literary figures are under-studied, we might expect popular genre writers to be neglected by scholars also. Nonetheless, we find a book-length study of Australian-born science fiction writer Greg Egan in which his nationality is irrelevant. Burnham is a NASA electrical engineer. However, Burnham often aims at establishing the kind of cohesive world-view one might find in a living subject rather than the contradictory trajectory that can make up a career or oeuvre. The book is divided into thematic sections.

Barnes recalls meeting a frail White when the latter spoke at La Trobe University in the s, complaining that academics seemed only to teach Voss. Ashcroft notes that White entered the Australian literary scene when the country was experiencing a resurgence of nationalist valuation of its literature signalled by the first chair in Australian literature being founded at Sydney University.

Skin and hands, for example, are shown to weather in keeping with a profoundly gradual process of becoming Australian. Glen Phillips closes the section on genre with an intriguing connection: As well as reflecting more widely on the role poetry has in the career of novelists, Phillips detects in the poetry of both writers Georgian tendencies, reminding us that these eclipsed such modernist experiments as Imagism in their time.

Antonella Riem follows with a more conventional essay that nonetheless proceeds from unexpected sources: Kiernan closes by noting that the White canon can inspire readings either of the old-fashioned novelist of the Bildungsroman and historical novel, or of the self-conscious postmodern writer. Intertextuality and Subversion adds to the loose trend in of reassessing critical orthodoxies.

Her concern is to connect questions of avant-garde metafictive, intertextual, and transtextual writing and criticism to Australian literature. Setting out to prove Fredric Jameson wrong about pastiche and its apolitical nature, Campbell sets up pastiche as something of an end in itself and in doing so perhaps inflates its case. Nonetheless it is an entertaining argument and merits attention. Treagus takes the Bildungsroman as her particular focus, asking how gender modulates the form, then how it alters when transported to the colonies and to what extent it carries with it structures of empire and patriarchy.

The Ruin of Time , complementing an edited collection of He sees Miller as providing an Australian equivalent to a W. Drawing on nearly ten years with the Melbourne Theatre Company amidst much other industry experience, Julian Meyrick aims to identify strategies for fostering Australian drama in his Platform Papers essay for drama publisher Currency Press.

Meyrick gives a brief account of Australian theatre history from the late nineteenth century to the emergence of a viable home-grown theatre in the s New Wave. While Meyrick is keen to show via statistics and anecdote that Australian theatre remained commercially viable, he also sees it as disproportionately dominated by classic and recent international adaptations.

In Turn in Turn: Ego-Histoire, Europe and Indigenous Australia takes its title from the Ananga word for mutual reciprocity p. Bruce Pascoe provides a short preface which pithily warns us: Yet, while it is rightly the dominant theme, the collection is not only concerned with indigeneity: Changing the Victorian Subject , edited by Maggie Tonkin et al. Human Toll [] reflects anxieties about illegitimacy and fears of male lust. Bush Studies had a more favourable reception in Britain more than in Australia though it deploys the same themes, investing them with the same powerful hysterical indirection.

Bulfin places him with Rider Haggard and Kipling as people who use a colonial identity to give them an edge in the metropolitan publishing world. The collection as a whole will not radically change our view of colonial Australian or general Victorian literature, but it provides interesting embroideries around the edges of the cloths we know. Since was on the threshold of the centenary of the event ostensibly consolidating settler Australian national identity—Gallipoli—it is unsurprising that some mention of this appears in Australian literary criticism.

We can probably expect more as well. Ecocritical Perspectives on Indigenous Performance. The collection, though it includes only one clearly identified indigenous contributor, mostly features scholars and practitioners with a solid history of working with indigenous theatre groups and overtly intends to break down idealized constructions p. Music for a Novel: A stimulating reading of a work sometimes dismissed as simple formula fiction.

Householders, however, were apprehensive of fire and of high rates of arson caused by hostile neighbours, or randomly appearing disaffected bush travellers. Mary Fortune, however, allows a female character to use fire as a tool to liberate herself from her father.

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Borlase allows her female protagonist a romantic rescue from the flames, but leaves her realistically unable to settle back into domestic peace. If we are familiar with the carefree Bush Girl figure, it is worth being reminded of the mass of religious writing in Victorian times, and bracing Christian temperance is discussed by Susan K. Melissa Purdue concludes the Australian section with a reprise on Praed: Her work countered novels of emigration in which single women find marriage and happiness in the colonies. Raised in England, Clare is too refined for the bush, unhappy with her husband, and fails to nurture her children, who run wild and mix with Aborigines.

The natural landscape offers space for rebellion against domesticity and indulgence in romantic passion, but also threatens fire, illness and finally punishes taking the eldest child of the failed mother. Ecology and Science Fiction , pp. Humans translate landscape and are translated by their experience from the mundane to some kind of transcendence: His answer accuses postcolonial correctness manifest in Simon During of sidetracking attention from the central metaphysical concerns of the novel: Play between modern and ancient versions of the woman points to a feminist anchoring of meaning around personal agency: The Journey Home , pp.

Weltbezug und Welterzeugung in Literatur, Kunst und Medie , pp. There are several special themed issues and otherwise a variety of topics here such that organizing articles by theme or author discussed would be confusing and inefficient. Entries are therefore listed under their publications, alphabetically by journal title. Australian Literary Studies Following her study of reading on a farm in New Zealand in the nineteenth century, she tracks the assertion of social and racial distinctions through reading the popular novelist.

The flaw here is that small local datasets often do not map tidily onto larger cultural spaces. Helen Groth tracks the interest in phonographic libraries—books recorded on phonograph records—from their inventor Thomas Edison to Australian newspaper articles of the s. Martin also offers a fascinating piece of book-historical work. In the same issue, Robert Clarke and Marguerite Nolan offer a reader response analysis of white middle-class reception of novels themed on reconciliation.

Morgan explores the cultural milieu of climate change in the s—reminding us that this was the cultural moment when scientific apperception of greenhouse thinking was taking off: Such memoirs are defended as parodic in terms that draw from postmodern theorists such as Baudrillard. Rabelais predicts continuing appreciation for the work. The Posthuman Drama of Adam J. Winton, we noted, is popular but not so frequently addressed in academic criticism. On the one hand Herrero agrees with critiques of the novel by people like Melissa Lucaschenko and Fiona Probyn-Rapsey, which admonish its complicity with dispossession resulting from sympathy with the protagonist; on the other, Herrero wants to vindicate the novel for acknowledging genocidal aspects of Australian history.

Its multiple intertextualities produce a hybrid poetics that backs the formation of a new trans-tribal and transnational black identity. Other texts long disregarded and recently coming back into the scholarly limelight are by Antigone Kefala. Australian texts feature fairly regularly and issue It is interesting to see Hardy getting some attention, the argument here being that his use of gambling motifs was an unpalatable attack on capitalism.

Many scholars have found the s a perplexing intersection of advocacy for Aboriginal rights, on the one hand, and support for fascistic state controls on the other. Smith looks at this phenomenon within Herbert and related figures from the Publicist such as P. Herbert and the anthropologist who most influenced him, A. Elkin who goes unmentioned understood themselves to be liberals but consorted with Stephensen and Miles, who were far more sympathetic to fascism. The Journal of the Association for the Study of Australian Literature published five issues this year.

It is co-edited by Leah Gerber and Rita Wilson. Smee uncovers the relation between Witting—a working-class white Australian woman—and the migrants whose lives influenced her own writing and were influenced by her advocacy—notably Jonaitis, inspired by Witting to write her own memoir. The closing essay in this special issue brings together texts about Aboriginal characters with texts by Aboriginal authors.

Haskell shows that poetry was not merely an apprenticeship for prose especially since Malouf has also written a play and libretti. Nicholas Birns is always novel in his perspective and panoramic in scope. For Barlow, awakenings to same-sex sexuality are political in their conceptual shift: In conferences on Australian literature, you will often hear complaints that there is too much written on certain writers. If Malouf is sometimes mentioned in this way, this issue shows that in his case it is justified. It arises out of the ASAL conference and ranges from Aboriginal relations to land to ecocritical topics.

The article also analyses the shifting keywords by which scholars have navigated the BlackWords AustLit database. This also appears in this issue, and scans with great intellectual agility across settler representations of Aboriginal characters, covering Pritchard, Herbert, White, Malouf, and, briefly, Grenville: Presence is possible in these writers, but continually thwarted and distorted by racial discourses. She deftly manages the difficult task of balancing theoretical insight with a fictocritical account of experience.

She shows how reference to Joseph Conrad and the Bible, for instance, functions to frame specific community concerns in problematically global and canonical ways. Coetzee to Jeanette Winterson back to Faulkner, who is cited as one in a succession of writers with an imaginative sense of country. Castro is provocative as he inserts himself into the company of Adorno and Said. The point, which he knows so well, is that such gestures to transnational exiles as his preferred company are unavoidably silenced in advance by the melancholic inheritance itself.

Much disagreement ensues about the worldliness of the Nation and the usefulness of the World. Several articles concerned with magical realism follow. Is Patrick White a Greek Author? Edmond also sketches broader patterns of cross-Tasman literary reputation. Robyn Greaves provides a factual account of Walkabout , important for culturally significant figures such as Henrietta Drake-Brockman and more popular writers like Ion L. In the novels, extinction is a common theme: Baines sets out archetypal symbolism and textual metaphors of theft and entrapment.

Staying close to existing scholarship, she focuses on Hester and her repression of desire, noting how the male closure of the well leaves the mystery and female revolt unresolved. She advocates more equitable partnerships between indigenous and non-indigenous writers.

Laura Buzo contributes a personal piece on her father, the playwright Alex Buzo: In it eastern Europe seems to spread from Latvia to the Ukraine, and many of the writers included have been overlooked because their narratives were not literary or were not in English. They are increasingly becoming recognized as part of a properly transnational Australian literary history. Another is Maria Lewitt, whose autobiographical fiction prompts Nina Fischer to argue for discussion of Holocaust literature in relation to the specific times and places where it appears: Bio-historical commentary supplements readings of how the photos relate to other accounts of Clift and Johnston.

He comments that he has written a lot of poems about food: The same issue has short personal pieces from Somali Australian Khalid Warsame on finding a position and subject to write about and novelist Kirsten Tranter on her feelings about reviews. In the same issue, Christopher Kelen surveys the lyrics of national anthems to investigate how the emergent postcolonial nation-state reproduces colonial tropes: It is a clear and compelling discussion.

Plato and a non-religious quest for grace, painterliness, and humour are some attributes claimed for the work. He asserts via Ricoeur that utopian thinking is not the imagining of perfection but speaking to the present from nowhere, critiquing and offering alternatives p. While one is about trauma from loss of country, the other deals with genetic modification, loss of species, and echoing absence, and White suggests that speculative climate-change fiction is more effective in raising our awareness than apocalyptic stories.

It seems that science fiction writer Greg Egan is coming into his own as a subject for scholarly attention. Glaskin was involved in the Fellowship of Australian Writers and kept logbooks of multiple attempts to place stories across the country and overseas and the income derived therefrom.

From he strove to survive solely on his writing, successfully doing so a decade later, then falling back on pensions as his career faded and he returned to Australia. Details of his contracts reveal how he was popular in Germany and Norway as well as selling well in England, courted the French and Dutch markets, and sold best as an adventure romance writer with a touch of the erotic, based on Australian and Southeast Asian settings. Comparison of some texts allows attribution of original authorship, though much remains uncertain and the authors note inherent problems in electronic searches.

The unexpected success of her final volume of the Mahony trilogy came too late for Richardson to be enthused, but she used the opportunity to reissue old novels and place stories in magazines. Jacob Schwartz obtained two stories and regaled Richardson with presents of rare editions of books and music, receiving signed copies of her work in exchange.

Solomon traces the provenance of the stories, the role of agents, and issues over the printing and editing, then tracks the fate of some of the copies. Lawrence may have encouraged Richardson eventually to allow publication of her collected stories by Heinemann and Norton in Media images of the beach mob violence emphasized the smaller retaliations of Lebanese youth over the large white crowd attacking a few people of Middle Eastern appearance.

Oades reduced eighty hours of interviews with both communities to a sixty-five-minute audio script of ten narrative lines and performed to both Bankstown and Cronulla-region audiences. As characters call up radio stations, we also see how stories are processed or left out, and are made aware of how our listening is also part of a media-constructed story and of how we ourselves listen or not to events. Its contents reflect the mix of Australian and Asian prose and poetry that has characterized the journal since its inception as a student magazine.

They serve up a roll-call of Australian writers of note, marking the effort to extend beyond local names Randolph Stow, Elizabeth Jolley, Fay Zwicky, Dorothy Hewett to cover good writing from across the nation and then the immediate region. The preceding issue includes review essays on a year of Australian fiction by Robyn Mundy and poetry by John Hawke. What impresses from these is just how many presses well-established ones, not the covers for self-publishing continue to publish poetry despite all the laments about their disappearance from the field. The interview has been given specific attention in a new journal, Writers in Conversation WriC.

harry arrives the adventures of lily and dave book 5 Manual

There are shortcomings in our supposedly global Web. In this case, two databases listing theses on Canadian literature record only work done in Canada and the United States, despite there being sites of Canadian literary studies in Britain, across Europe, in India, Australia, and beyond.

The good news is that Canadian writers are strongly represented in postgraduate work in North America. Gender and sexuality provide focus for several works. Ethics are also at the heart of three quite different works: The major work of recent times comes from the TransCanada project, directed by Smaro Kamboureli. It investigates new directions for Canadian literary studies in the light of social changes and shifts in university systems.

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Kamboureli and Christl Verduyn have edited the final of three books, Critical Collaborations: Kamboureli supplies the introduction pp. He notes that Frye did not attend to how state processes produced culture, and laments corporatized universities sidelining creative texts. Miki calls for creative critical reading in which the imagination is encountered both in texts and in readers as an unstable, affective whirlpool. His analysis of work by Roy Kiyooka demonstrates how CanLit is a provisional and ongoing construction. She then teases out underlying patterns of kinship and Haisla spirit canoe journeying to argue for an indigenous psychodrama of healing in contrast to Western theories of unrepresentable trauma.

The book disappoints in often appearing to merely add on new groups and approaches to the established body of work, but it does set up the parameters for an ongoing questioning and revision of structures. She makes the point that numbers can tell a story and provide a basis for useful knowledge and getting good things done, giving stats on reader patterns in relation to Canadian Literature to prove her point, though she also warns that numbers do not tell us how a text affects a reader and are not the full story.

Pushing on from the kind of mapping of texts initiated by Franco Moretti, Lang looks at little magazines, mapping the places they come from and the places mentioned in them as imaginative sites, and reflecting on when it is actually useful to spend time digitizing and mapping texts. The critical question behind attention to popular forms of literary dissemination is addressed by Albert Raimundo Braz: Literary value is a question driving contemporary attention to the middlebrow.

This intersects with book history and cultural studies and is the focus of a special issue of the International Journal of Canadian Studies 48[], edited by Faye Hammill and Michelle Smith. The Colonial Heroine Comes of Age. A Tale of Saskatchewan afterword from Daniel Coleman.

Cooper is more national and Richardson more colonial. Transnational publishing networks entailed three audiences: His Britons are an ethnically and racially diverse group and there is less concern over miscegenation, although crossing the racial divide is avoided. As departments of comparative literature and world literature resist or struggle to accommodate the genuine global variety of writing, new frameworks and pedagogies are sought.

The Canadian Review of Comparative Literature issued two numbers in that canvas what is happening and what might happen in Canadian classrooms. At the same time, the land is romantically figured as an abiding potentially redemptive strength. This article is fascinating to the non-Canadian reader for the density of attention across time to fixing literary works and writers on the national map.

Australian efforts, by contrast, have been mere sporadic sketches. The First World War has had a lot of attention lately, due in part to the centenary of its beginnings. Presenting the war as theatrical in a theatre context reminds audiences of the constructed drama of war and nation.

It is what we do with the remembering of that obscene past that matters p. For Native soldiers, home turns into another battleground as they struggle to reconnect with both nation and indigenous society. Neta Gordon has produced Catching the Torch: Texts show that the national character quiet duty, tolerance emerges not in spite of reluctance to fight but as a product of that reluctance pp.

The mask in Vanderhaeghe undoes traditional elegy in which soldiers die so that we might live, substituting a mourning for old values of honour p. Neither Cumyn nor Urquhart is a postmodernist; the latter uses artist figures who try to transcend the details of history but do not deny historical authority. Gordon claims that Thiessen undermines his interest in diversity and individuals by presenting a fighting unit melded by battle, whereas Kerr staging a home-front hospital threatened by the Spanish flu—the contagion of war more critically inspects how unity is constructed. Like all the others, Poliquin examines what is worth remembering versus what is chosen to be remembered, and most radically presents an ignoble impersonator in place of the soldier hero.

Comments on the function and reception of the translated work suggest further discussion. This is a bare-bones account of a solid set of essays that draw on a wide range of criticism and theory. Literature, History and the Spectre of Self-Invention. Canadian Gothic, she says, is about settlers being haunted by their relationship to the Gothic itself p. Learn more about Amazon Giveaway. The Misery of Dave Milne: A play adapted by Jeff Milne from recordings of Dave Milne in the last six months of his life. Set up a giveaway. Feedback If you need help or have a question for Customer Service, contact us.

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