AustLit
Latest Issues
Notes
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Contents indexed selectively.
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Cover design by artist and poet, Dennis Nicholson.
Contents
- The Unflinching Gaze: In Conversation with Gillian Mears, Emma Sorensen (interviewer), single work interview (p. 125-131)
- The Ganger, single work short story (p. 132-135)
- Rainforest Fantasyi"Come with me and I will show you", single work poetry (p. 136)
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The Photographic Eye: The Camera in Recent Australian Fiction,
single work
criticism
Genoni discusses Australian novels, published largely in the late 1990s, that feature 'a character who is a cameraman or woman, sometimes professional, sometimes amateur, but to whom the world is framed, filtered and focused through the lens, the viewfinder, and the zoom.' He concludes, 'if we accept that space is produced by discursive practices, then we must question whether the text that is embedded in over 150 years of photgraphic production has not shaped an imagination that encounters space in terms of time as well as, or perhaps rather than, place.'Note: Includes bibliography.
- Naming Treesi"I used to think branches meant hands", single work poetry (p. 141)
- Fenn, single work short story (p. 142-144)
- For Barbora, Whose Favorite Color is Blacki"I have always loved the blackbird,", single work poetry (p. 144)
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'Going Double': Exploring Contradictions of Australianness in Christopher Koch's Out of Ireland (1999),
single work
criticism
Gaile begins by highlighting works published in the 1990s and the early 21st century that have resulted in putting 'Irishness back onto the public and academic agenda' in Australia. He then focuses on one of the main themes of Christopher Koch's Out of Ireland, 'the all-encompassing duality motif'. Gaile examines Koch's treatment of English-Irish relations in Australia and analyses how Koch 'handles the controversy between these two opposing forces in an antipodean context' with particular emphasis on the 'hell vs. paradise' opposition depicted through the novel's Tasmanian setting.Note: Includes bibliography.
- A Brilliant Day for Freefall Flying, single work short story (p. 157-161)
- Red Fishi"High Street laundromat in orange tile,", single work poetry (p. 161)
- Hydroponicsi"Now your tits drag dry", single work poetry (p. 161)
- Convergencei"The adventitious victims", single work poetry (p. 162)
- Biologist Grievingi"When you look out and see the horizon", single work poetry (p. 163)
- The Voice of the Teller: A Conversation with Peter Carey, Nathanael O'Reilly (interviewer), single work interview (p. 164-167)
- Brett's Mumi"She'd peck me on the lips like an extra son.", single work poetry (p. 168)
- Race Dayi"I help my mother into her bosom,", single work poetry (p. 168)
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The Image in Text,
single work
criticism
Ahlstrom examines the interplay between paintings and the writing of David Brookes and Sue Woolfe.
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Happily Ever After: William Shakespeare's The Tempest and Murray Bail's Eucalyptus,
single work
criticism
McNeer compares elements of similarity in Murray Bail's Eucalyptus and William Shakespeare's The Tempest. McNeer particularly examines fables, fairy tales and mythic stories that may have been available to Shakespeare and, derivatively, influenced Bail. The characters of Miranda in The Tempest and Ellen in Eucalyptus are compared as are their respective fathers, Prospero and Holland.
McNeer concludes with a quotation from G. Wilson Knight's The Crown of Life: Essays in Interpretation of Shakespeare's Final Plays (1965): 'It is, perhaps, inevitable that Shakespeare, so saturated with the spirit of his land, should, in such a summation of that work in The Tempest, have outlined, among much else, a myth of the national soul' (p.255). This parting comment, says McNeer, 'may provide the most profound connection of all between William Shakespeare and Murray Bail'.
- On the Minesi"The Boss Boy -- if that's what he's called nowadays, post-Mandela --", single work poetry (p. 176)
- To Invest with Surprise: A Visit with David Rowbotham, single work criticism (p. 177-181)