AustLit

'I was offered the opportunity to translate The Slap by Christos Tsiolkas into Czech in November 2010, two years after its original publication in Australia. The offer came from the publishing house Host, a growing and quite prestigious publisher focusing on original Czech poetry and fiction and quality literary translations of various genres. I was considered suitable because I had at the time five translations of full-length novels under my belt. The publishing house also relied upon my knowledge of the Australian context and my ability to conduct research in areas unfamiliar to me as I was a student of comparative literature in a post-graduate programme. Therefore, it entrusted me with a novel as complex and extensive as The Slap. There was also a very personal reason why the publisher picked me: like Tsiolkas, I have Greek ancestry, and the publisher thought that this, in particular, would help me understand the Greek dimension of Tsiolkas’s novel. After The Slap, I also translated Barracuda into Czech in 2014 – the last book by Tsiolkas published in Czech to date.' (Publication abstract)

'This article considers the way in which elite swimming in Australia constitutes a system of identity to frame the privileging of heterosexuality, able-bodiedness and hypermasculinity in Christos Tsiolkas’s novel Barracuda (2013) and its television adaptation (2016). It argues that the two versions of the story offer very different sporting narratives: a migrant, working-class, gay body in the novel, the complexity of which is never fully realised on screen. The article shows how the television adaptation of Barracuda reshapes the novel’s atemporal structure into a linear progression of rise, fall and redemption, and that under these narrative conditions Daniel Kelly’s body becomes simply object, rather than embracing the subjecthood he is permitted in the novel. The effect is one of compulsory normalisation and erasure: of Danny’s queer body, of Dennis’s and Martin’s damaged bodies, and of the consequences of Danny’s criminal act. This process parallels similar attitudes towards Australia’s most elite athletes and the public ownership of their body narratives.' (Publication abstract)

'This article takes up a specific feature of Christos Tsiolkas's writing, his style. Focusing on Tsiolkas's fourth novel, The Slap, this article argues that Tsiolkas’s style is an inarticulate style: a style that does not always use the right word at the right moment, that employs language for narrative utility rather than its own sake, and that sporadically departs from standard usage and correctness in ways that do not appear artistically motivated. My argument is that The Slap is notable among contemporary fiction in that what I consider to be Tsiolkas’s worst sentences are the most revealing of his inclinations as a novelist. Consequently, I depart from what has become a standard formula in Tsiolkas's reception, that where Tsiolkas succeeds as a writer he succeeds in spite of his style. Finally, this article also contributes to recent debates about the purpose and vocabulary of Australian literary discussion: how critics debate the work of a prize-winning author, how criticism and praise operate in critical judgements, and the significance of style in evaluations of literature.' (Publication abstract)