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This image has been sourced from online.
Issue Details: First known date: 2013... 2013 West of Eden : The Real Man from Snowy River
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AbstractHistoryArchive Description

'Young aboriginal Australian, Toby rode the high plateaus and steep-mountain gorges chasing brumbies, his feats documented and dated about two years before Paterson began writing his iconic poem after visiting the region. Paterson’s only description of ‘the man’ is that he is a ‘stripling’. This story also features Kurnai leader, Bunjileenee; Lauren Tucker, his white consort, who in real life he rescued from a shipwreck; and Angus McMillan who, with his gang of vigilantes, slaughtered hundreds of Snowy River families. It’s a love story; Aboriginals Toby and Louise wrestle with how they might fit into the new Australia of British imperialism. Most of all, it is the story of one young man’s feat of such outstanding horsemanship that, masked, he entered Australian history, literature and legend.' (Source: Proof-it website)

Notes

  • information from Proof-it website http://www.proof-it.com.au/philipmclaren/

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • New South Wales,: Cockatoo Books , 2013 .
      1267446019939022736.jpg
      This image has been sourced from online.
      ISBN: 9780987567246, 0987567241

Works about this Work

Philip McLaren and the Indigenous-Australian Crime Novel Cornelis Martin Renes , 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)
Philip McLaren and the Indigenous-Australian Crime Novel Cornelis Martin Renes , 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 23 May 2017 15:31:50
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