AustLit logo

AustLit

y separately published work icon Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives single work   novel  
Issue Details: First known date: 1991... 1991 Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Notes

  • A novel in experimental form.

Publication Details of Only Known VersionEarliest 2 Known Versions of

VIEW PUBLICATION DETAILS FOR ALL VERSIONS ()

Other Formats

  • Also braille, sound recording.
Find library holdings on Trove

Works about this Work

Empathic Deterritorialisation : Re-Mapping the Postcolonial Novel in Creative Writing Classrooms A. Frances Johnson , 2012 single work criticism
— Appears in: JASAL , vol. 12 no. 1 2012; 'Michael Dodson has commented that the 'repossession of our past is the repossession of ourselves' - yet since the 1980s, the translation of such imperatives within literary and historical colonial archival research has been tightly circumscribed by controversial, often agonistic identity debates. Reflection on the broad emotional imprimateurs guiding intellectual and creative research activity have been muted, variously repressed or backgrounded, voided by (white) shame or tact, and often deferred to Indigenous commentators for framing commentaries. Vehement stoushes between the disciplinary cousins of history and literature have also erupted as part of recent local history and culture wars debates. With hindsight, these seemingly 'emotional' yet supra-rational debates, focusing righteously on entitlement and access to colonial archives, seem to have lacked so-called emotional intelligence and (inter)disciplinary imagination. The arguments of the protagonists have now have been 'tidied away', leaving a subsidence of unscholarly embarrassment in their wake.

I aim to show that despite the problematic inheritance of these public debates, many historians, novelists and cultural critics (Elspeth Probyn, the late Greg Dening, Kate Grenville, Kim Scott and others) have managed to rigorously contest and (re)present colonial archival material without repudiating their own emotional involvement with 'the Australian past' in order to maintain scholarly distance. They have understood, in Marcia Langton's phrase, that 'some of us have lived through it, are living through it. This is not an exercise in historiography alone, and therefore presents problems beyond that of traditional historiography.' My analysis of these writer's commentaries will be contextualised against Langton's idea of intercultural subjectivity, which emphasises a discursive intextuality that can be engaged with equally by black and white artists, critics and writers across the genres. Langton, Dening, Grenville, Scott and others will be shown as thinkers who lead the way in suggesting and/or demonstrating how postcolonial novels can be taught and made.' (Author's abstract)
A Short Note on the Poetics of the Novel James Bardon , 1995 single work criticism
— Appears in: Australian Book Review , September no. 174 1995; (p. 69)
Inscribing Distance: Narrative Strategies in James Bardon's Revolution by Night Lyn Jacobs , 1995 single work criticism
— Appears in: Kunapipi , vol. 17 no. 2 1995; (p. 4-13)
A Sea Not to Be Seen Paul Carter , 1991 single work review
— Appears in: Overland , Summer no. 125 1991; (p. 83-85)
— Review of Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives James Bardon , 1991 single work novel
Universe of Sand Adam Shoemaker , 1991 single work review
— Appears in: Editions , Spring no. 12 1991; (p. 4-5)
— Review of Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives James Bardon , 1991 single work novel
Historic Payload Settles into a Good Yarn Penelope Nelson , 1991 single work review
— Appears in: The Weekend Australian , 27-28 July 1991; (p. rev 4)
— Review of A Cargo of Women : The Novel Babette Smith , 1991 single work novel ; Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives James Bardon , 1991 single work novel ; Henry Handel Richardson : Fiction in the Making Axel Clark , 1990 single work biography ; Memories of a Country Childhood Judith Wallace , 1977 single work autobiography
Neighbours, Dreams and Neighbours Carol Franklin , 1991 single work review
— Appears in: Southerly , December vol. 51 no. 4 1991; (p. 152-163)
— Review of Cloudstreet Tim Winton , 1991 single work novel ; Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives James Bardon , 1991 single work novel ; Performances Maurilia Meehan , 1990 single work novel
Striking Images Gone Walkabout John Forbes , 1991 single work review
— Appears in: The Sydney Morning Herald , 9 March 1991; (p. 46)
— Review of Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives James Bardon , 1991 single work novel
Word as Image as Landscape Billy Marshall-Stoneking , 1991 single work review
— Appears in: The Weekend Australian , 10-11 August 1991; (p. rev 4)
— Review of Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives James Bardon , 1991 single work novel
Brothers Who Open White Eyes Paul Dunphy , 1991 single work review
— Appears in: The Age , 14 September 1991; (p. 8)
— Review of Revolution by Night, or, Katjala Wananu (The Son after the Father): A Story of the Central Deserts Together with the Monograph Written by Jack Terrence Dutruc and Entitled "Interior" an Analysis of Hieroglyphs in Australian Art, and Its Perspectives James Bardon , 1991 single work novel
Empathic Deterritorialisation : Re-Mapping the Postcolonial Novel in Creative Writing Classrooms A. Frances Johnson , 2012 single work criticism
— Appears in: JASAL , vol. 12 no. 1 2012; 'Michael Dodson has commented that the 'repossession of our past is the repossession of ourselves' - yet since the 1980s, the translation of such imperatives within literary and historical colonial archival research has been tightly circumscribed by controversial, often agonistic identity debates. Reflection on the broad emotional imprimateurs guiding intellectual and creative research activity have been muted, variously repressed or backgrounded, voided by (white) shame or tact, and often deferred to Indigenous commentators for framing commentaries. Vehement stoushes between the disciplinary cousins of history and literature have also erupted as part of recent local history and culture wars debates. With hindsight, these seemingly 'emotional' yet supra-rational debates, focusing righteously on entitlement and access to colonial archives, seem to have lacked so-called emotional intelligence and (inter)disciplinary imagination. The arguments of the protagonists have now have been 'tidied away', leaving a subsidence of unscholarly embarrassment in their wake.

I aim to show that despite the problematic inheritance of these public debates, many historians, novelists and cultural critics (Elspeth Probyn, the late Greg Dening, Kate Grenville, Kim Scott and others) have managed to rigorously contest and (re)present colonial archival material without repudiating their own emotional involvement with 'the Australian past' in order to maintain scholarly distance. They have understood, in Marcia Langton's phrase, that 'some of us have lived through it, are living through it. This is not an exercise in historiography alone, and therefore presents problems beyond that of traditional historiography.' My analysis of these writer's commentaries will be contextualised against Langton's idea of intercultural subjectivity, which emphasises a discursive intextuality that can be engaged with equally by black and white artists, critics and writers across the genres. Langton, Dening, Grenville, Scott and others will be shown as thinkers who lead the way in suggesting and/or demonstrating how postcolonial novels can be taught and made.' (Author's abstract)
Inscribing Distance: Narrative Strategies in James Bardon's Revolution by Night Lyn Jacobs , 1995 single work criticism
— Appears in: Kunapipi , vol. 17 no. 2 1995; (p. 4-13)
A Short Note on the Poetics of the Novel James Bardon , 1995 single work criticism
— Appears in: Australian Book Review , September no. 174 1995; (p. 69)
VIEW ALL WORKS ABOUT (11)

Awards

VIEW ALL AWARDS (2)
Last amended 16 Dec 2014 09:04:40
Subjects:
Settings:
  • Bush,
  • Kimberley area, North Western Australia, Western Australia,
  • 1940s
Newspapers:
    Powered by Trove
    X