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Issue Details: First known date: 2016... vol. 30 no. 1 June 2016 of Antipodes est. 1987 Antipodes
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Contents

* Contents derived from the 2016 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Suburban Space and Multicultural Identities in Christos Tsiolkas’s The Slap, Nicholas Dunlop , single work criticism
'Since the first publication of Christos Tsiolkas's fourth novel, The Slap, in 2008, it has received a great deal of commercial and critical attention both domestically and, in more recent years, internationally. This popularity and rapid subsequent enrollment into the literary mainstream is, it could be argued, in large part due to the accessible prose and book-club compatibility of its core narrative trajectory, which traces a topical and thought-provoking depiction of conflicting sets of generational "family values," domestic politics, and explicit and implicit class conflict, the drama unfolding among an eclectic range of frequently unsympathetic yet believable, identifiable, and compelling characters. This narrative accessibility has been further emphasized by the production of two distinct episodic adaptations for television. The first, a successful ABC adaptation in 2011, preserved much of the contemporary flavor and cultural specificity of the original text and starred a number of familiar Australian actors including Jonathan LaPaglia, Essie Davis, and Melissa George. A much less successful US remake followed in 2015, featuring American actors in each of the major roles and, somewhat inexplicably, relocating the action from the suburbs to the brownstones of the New York borough of Brooklyn. Despite the geographic differences between the two adaptations, both retain the key narrative thrust of Tsiolkas's novel, charting the consequences of an act of corporal punishment - the titular "slap"—of a misbehaving small boy at a social gathering.' (Introduction)
(p. 5-16)
The Politics of Possession in Paddy O’Reilly’s The Factory, Timothy Kazuo Steains , single work criticism

'In the first chapter of The Factory (2005) the Australian protagonist Hilda, writing from a Japanese prison, says,

I remember someone saying to me when I first came to this country, "You may speak perfect Japanese. You may live like the Japanese, sound like the Japanese, believe what the Japanese believe. But you will never be Japanese:" (2).

'This statement provides the spur for the novel's sustained engagement with the nature of national, cultural, and racial identity. This essay highlights the way the novel both problematizes and reproduces the borders that govern who is Japanese and who is Australian and, by extension, who is not Japanese and who is not Australian. The above extract presents Japanese identity as incommensurable with Australian identity, and in turn sees Australia as distinct from Asia:

The label "Australian" [. . .] separates Australia from its place in the Asia-Pacific region and from the plethora of its connections with and interests in other parts of the world; one of the effects of this is to assimilate it to a model of white and settled Australianness that does little justice to its internal heterogeneity. (Frow 60)

'Suvendrini Pemra characterizes the imaginary bottlers between Australia and Asia as not simply territorial or national but defined by racial identities as well: "the geographical differentiation of the island-body, Australia, from the islands of Asia is paralleled by a process of racial differentiation' (3). (Introduction)

(p. 17-29)
Zero : Things I Do in My Spare Timei"then say it was the wind.", Carol Jenkins , single work poetry (p. 30)
X the Unknown Factor in Factoryi"my own, biroed letters bisecting my lifeline.", Ian C. Smith , single work poetry (p. 31)
Quantifying Shakespeare, Soren Tae Smith , single work prose

'In this sentence "hill" refers to an actual but unimportant phenomenon: a large mound of dirt or rock. Though focus word/s "hill" is word/s conferring Truth value (5% score increase), focus word/s "dawn" has problematic or negative Beauty value (see Notes Section). BGT Stats Sheet reading of 2016-2026 trend indicates rapid decrease in "dawn" to the value [sic] of defunct cliché, inhibiting Beauty score reaching threshold value for heritage listing consideration. DWMs are an endangered species, I know it.' (Introduction)

(p. 32-34)
Multicultural Identity and Matters of Gender in Melina Marchetta's Looking for Alibrandi, H. N. Prakrithi , single work criticism
'The term multiculturalism originated in the 1970s in Canadian politics, where it was found convenient to replace ambiguous set of ideas, with the intention being to promote the cultural and economic concerns and interests of certain non-Anglophone categories, basically to counter the emerging weight of French Canadians. Instances in Looking for Alibrandi (1992) give an idea of the insecurity of a migrant teenager, Josie, who has to live with the bias of both the dominant and the marginalized community, suffering innately because she does not belong to either of the communities but has to learn to cope with such realities.' (Publication abstract)
(p. 35-46)
Selling Desk Sets in the City, John Kinsella , single work short story

'[...]he'd been battling drug and alcohol problems and when Social Security and CES forced him to go on a "sales training course" he did so because (a) he had no choice and (b) he had to do something . . . something else. [...]she'd said that to him just after discovering he'd pawned her earrings and silver bracelets to buy a couple of sticks of mull. Two of the zealots were engaged in eager conversation-a young man and a young woman, white shirt and white blouse, black trousers and black knee-length skirt, each waving whiteboard markers around as if they were wands. Desk sets: plastic molded desk sets with two pens in plastic swivel holders, a tubular well for pencils and other pens, a flat square well for paperclips and bits 'n' pieces, and a peculiar little globe of the world that could be turned and looked as if the map would peel off in quartered orange-peel-like segments.' (Introduction)

(p. 47-52)
The Name Inside the Name : On the Poetry of Kevin Hart, David Mason , single work criticism

'When we encounter a superb poet for the first time, we relearn how to listen, how to read. In T. S. Eliot’s words, it is “a new beginning, a raid on the inarticulate / With shabby equipment always deteriorating” (189).

'We were in Oregon, driving north on Highway 101, and my wife was telling me about Kevin Hart, a poet and scholar whom she had known in Australia and whom we had just met briefly at a conference in Pennsylvania. She opened her iPad as I drove, located some Hart poems online, and began to read: “There is a silence words can’t touch.”' (Introduction)

(p. 53-64)
Ultraviolet Dusk Before a Stormi"Radiance vies to stream from itself:", Toby Davidson , single work poetry (p. 65)
Walking Towards Juktasi"At first I couldn’t fathom why", Jena Woodhouse , single work poetry (p. 66-67)
Hanam-chi, May 2002i"I remember that lane as clear as Weet-Bix", Liam Ferney , single work poetry (p. 68)
What Harry Taught Me, Geoff Goodfellow , single work prose

'After a few weeks, one young woman's husband arced up and Mike had to tell both blokes to pull up on their drinking or they'd be off the roster. En Sviveldash, if yoo are serving za customer en za customer vonts yor top layer, or za peece rite at za frunt, make shore yoo rest vun finger on za scales ven yoo veigh for price.' (Introduction)

(p. 69-70)
Mother to Other: Feminine Becoming in Fiona McGregor’s Indelible Ink, Belinda Burns , single work criticism
'In the tradition of Gustave Flaubert's Madame Bovary (1857), Henrik Ibsen's A Doll's House (1879), and Kate Chopin's The Awakening (1899), feminine desire for self-transformation, or "becoming," features as a recurrent theme across several twenty-first-century "suburbia" novels by Generation X Australian women writers. Joanna Murray-Smith's Sunnyside (2005), Georgia Blain's Too Close to Home (2011), Peggy Frew's House of Sticks (2011), and Anita Heiss's Tiddas (2014) all share the character of a "suburban mother" desperate for some kind of metamorphosis—or, as one of the characters in Sunnyside quips, "a radical shift in her life map" (Murray-Smith 305). Although flight from suburbia dominates as a mode of becoming in Australian fiction (McCann 56), these novels explore alternative conduits to feminine reinvention. ' (Introduction)
(p. 71-85)
Seriousi"He is fever, ancient engine", L. K. Holt , single work poetry (p. 86-87)
Hoursi"Once again, my friends,", Chris Wallace-Crabbe , single work poetry (p. 88)
Form, Experience, and Desire : Frank Moorhouse’s 1970s Cycles as Experimental Writing, Adam Gall , single work criticism
'Toward the end of Frank Moorhouse's 1977 collection Tales of Mystery and Romance, there is a scene where the narrator-protagonist argues with his would-be lover and rival, Milton, over apparently esoteric matters. The dispute hinges on the possibility of mystical experience, which, according to Milton, is out of reach for the protagonist because he is immature and overly dependent on an unreflective skepticism. Milton is accusatory: "You never experience anything, do you" (122). Milton tells the protagonist that he is "way back on the path of personal development" (127). The protagonist muses, in contrast, that Zen is a cop-out because experience is an unresolved problem that cannot be addressed by "reconstructing the mind" (126). As the pair argue, the protagonist becomes distracted by sexual jealousy, seeing a photograph of Milton and a young man as evidence of the kind of intimacy that he had himself sought with his friend. The scene ends with a displacement of these conflicts as the protagonist confronts some Hare Krishnas in the street, having with them the argument he could not resolve with Milton. Rather than leading to any sort of resolution, this displacement exacerbates the tense ambiguity of the book's central relationship.' (Introduction)
(p. 89-102)
Three Tales for Emmie : Joan Wise’s Forgotten Tasmanian Triptych, Ralph Crane , Danielle Wood , single work criticism

'Joan Wise made her fiction debut in the pages of Australia's Bulletin magazine in 1950. A poem of hers had earlier appeared in the same publication, but her arrival as a writer of prose was announced by a series of linked tales, "The Conquest of Emmie" (January), "Poison in the Furrow" (May), and "A Fence for Emma" (August). The stories are a subtly comic triptych about gender politics and hardscrabble bush-farming life in the remote Central Highlands district of Tasmania.' (Introduction)

(p. 103-115)
Ice Agei"Mist bleaches the landscape blind,", Tru S. Dowling , single work poetry (p. 116-117)
At the Gravesi"Here I am", Jane Frank , single work poetry (p. 118-119)
The Einsiedeln GM Eclogues: 1i"Thamyra: Midas, you’ve a vested interest", John Kinsella , single work poetry (p. 120-124)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Last amended 28 Mar 2017 08:51:34
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