AustLit
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.
Latest Issues
AbstractHistoryArchive Description
New Year's Day, Sydney. The bodies of a young Aboriginal woman and her
boyfriend are discovered in Redfern, brutally murdered. Koori detectives
Gary Leslie and Lisa Fuller, from the new Aboriginal Homicide Unit of
the NSWPD, are assigned to the investigation. Both are determined to
solve their first homicide quickly. Another killing and the tension
rises fuelled by an increasingly frenzied media.
(Source: Trove)
Notes
-
Dedication: To my wife Roslyn my daughter Tanya and son James my (late) father, Jack and my mother, Anne my brothers, John, (late) Kevin, Roderick, Gregory, and my sisters, Elaine, Lynne.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Also sound recording.
Works about this Work
-
Philip McLaren and the Indigenous-Australian Crime Novel
2016
single work
criticism
— Appears in: Coolabah , no. 20 2016; (p. 22-37) 'This paper locates the postcolonial crime novel as a space for disenfranchised groups to write back to the marginalisation inherent in the process of colonisation, and explores the example of Australia. From its inception in the mid-19th century, Australian crime fiction reflected upon the challenging harshness and otherness of the Australian experience for the free and convict settler, expelled from the metropole. It created a series of popular subgenres derived from the convict narrative proper, while more ‘standard’ modes of crime fiction, popularised in and through British and American crime fiction, were late to develop. Whereas Australian crime fiction has given expression to the white experience of the continent in manifold ways, up until recently it made no room for Indigenous voices – with the exception of the classic Inspector Napoleon Bonaparte series written by the prolific Arthur Upfield in the first half of the 20th century. For the longest time, this absence reflected the dispossession, dispersal and disenfranchisement of the colonised Indigenous peoples at large; there were neither Aboriginal voices nor Aboriginal authors, which made the textual space of the Australian crime novel a discursive terra nullius. This paper will look at the only Indigenous-Australian author to date with a substantial body of work in crime fiction, Philip McLaren, and elucidate how his four crime novels break new ground in Australian crime fiction by embedding themselves within a political framework of Aboriginal resilience and resistance to neo/colonialism. Written as of the 1990s, McLaren’s oeuvre is eclectic in that it does not respond to traditional formats of Australian crime fiction, shifts between generic subtypes and makes incursions into other genres. The paper concludes that McLaren’s oeuvre has not been conceived of as the work of a crime writer per se, but rather that its form and content are deeply informed by the racist violence and oppression that still affects Indigenous-Australian society today, the expression of which the crime novel is particularly well geared to.' (Publication abstract) -
Exploration of Indigenous Fate in Terra Incognita : Philip McLaren's 'Scream Black Murder'
2008
single work
criticism
— Appears in: Fact and Fiction : Readings in Australian Literature 2008; (p. 142-155) -
White Form, Aboriginal Content : Philip McLaren's Scream Black Murder
2004
single work
criticism
— Appears in: Commonwealth , Autumn vol. 26 no. 1 2004; (p. 41-52) 'This article studies the way in which ... McLaren exploits the conventions of this sub-genre of Western literature [i.e. crime fiction] to re-inforce the impact of his post-colonial message' (Author's abstract p.41). -
Keeper of Dreams
2002
single work
review
— Appears in: Australian Book Review , February no. 238 2002; (p. 44)
— Review of Scream Black Murder 1995 single work novel ; There'll Be New Dreams 2001 single work novel ; Sweet Water : Stolen Land 1993 single work novel -
Aboriginal Writing
2000
single work
criticism
— Appears in: The Oxford Companion to Aboriginal Art and Culture 2000; (p. 313-320)
-
Black Deaths, Black Lives
1995
single work
review
— Appears in: The Sydney Morning Herald , 7 October 1995; (p. 12A)
— Review of The Malcontenta 1995 single work novel ; Browning Without a Cause 1995 single work novel ; Scream Black Murder 1995 single work novel -
Into the Dark, Without Fear or Favour
1997
single work
review
— Appears in: The Weekend Australian , 8-9 February 1997; (p. rev 9)
— Review of Bad Debts 1996 single work novel ; Scream Black Murder 1995 single work novel ; Endpeace 1996 single work novel -
Suspicions of Use
1995
single work
review
— Appears in: Australian Book Review , October no. 175 1995; (p. 66)
— Review of Scream Black Murder 1995 single work novel -
Mystery Explores Social Issues
1996
single work
review
— Appears in: Antipodes , June vol. 10 no. 1 1996; (p. 58-59)
— Review of Scream Black Murder 1995 single work novel -
Keeper of Dreams
2002
single work
review
— Appears in: Australian Book Review , February no. 238 2002; (p. 44)
— Review of Scream Black Murder 1995 single work novel ; There'll Be New Dreams 2001 single work novel ; Sweet Water : Stolen Land 1993 single work novel -
White Form, Aboriginal Content : Philip McLaren's Scream Black Murder
2004
single work
criticism
— Appears in: Commonwealth , Autumn vol. 26 no. 1 2004; (p. 41-52) 'This article studies the way in which ... McLaren exploits the conventions of this sub-genre of Western literature [i.e. crime fiction] to re-inforce the impact of his post-colonial message' (Author's abstract p.41). -
Exploration of Indigenous Fate in Terra Incognita : Philip McLaren's 'Scream Black Murder'
2008
single work
criticism
— Appears in: Fact and Fiction : Readings in Australian Literature 2008; (p. 142-155) -
y
Philip McLaren Interviewed by Heather Rosden
Heather Rusden
(interviewer),
Canberra
:
National Library of Australia
,
1994
Z1710625
1994
single work
interview
-
Aboriginal Writing
2000
single work
criticism
— Appears in: The Oxford Companion to Aboriginal Art and Culture 2000; (p. 313-320) -
Philip McLaren and the Indigenous-Australian Crime Novel
2016
single work
criticism
— Appears in: Coolabah , no. 20 2016; (p. 22-37) 'This paper locates the postcolonial crime novel as a space for disenfranchised groups to write back to the marginalisation inherent in the process of colonisation, and explores the example of Australia. From its inception in the mid-19th century, Australian crime fiction reflected upon the challenging harshness and otherness of the Australian experience for the free and convict settler, expelled from the metropole. It created a series of popular subgenres derived from the convict narrative proper, while more ‘standard’ modes of crime fiction, popularised in and through British and American crime fiction, were late to develop. Whereas Australian crime fiction has given expression to the white experience of the continent in manifold ways, up until recently it made no room for Indigenous voices – with the exception of the classic Inspector Napoleon Bonaparte series written by the prolific Arthur Upfield in the first half of the 20th century. For the longest time, this absence reflected the dispossession, dispersal and disenfranchisement of the colonised Indigenous peoples at large; there were neither Aboriginal voices nor Aboriginal authors, which made the textual space of the Australian crime novel a discursive terra nullius. This paper will look at the only Indigenous-Australian author to date with a substantial body of work in crime fiction, Philip McLaren, and elucidate how his four crime novels break new ground in Australian crime fiction by embedding themselves within a political framework of Aboriginal resilience and resistance to neo/colonialism. Written as of the 1990s, McLaren’s oeuvre is eclectic in that it does not respond to traditional formats of Australian crime fiction, shifts between generic subtypes and makes incursions into other genres. The paper concludes that McLaren’s oeuvre has not been conceived of as the work of a crime writer per se, but rather that its form and content are deeply informed by the racist violence and oppression that still affects Indigenous-Australian society today, the expression of which the crime novel is particularly well geared to.' (Publication abstract)
Last amended 26 May 2017 09:12:04
Settings:
- Sydney, New South Wales,
Export this record
