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Notes
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Dedication: To my dear daughters Margaret and Jane.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Other Formats
- Also sound recording.
Works about this Work
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A National (Diasporic?) Living Treasure : Thomas Keneally
2015
single work
criticism
— Appears in: Le Simplegadi , November no. 14 2015; (p. 20-27) Although Thomas Keneally is firmly located as a national figure, his international literary career and his novels’ inspection of colonial exile, Aboriginal alienation, and movements of people throughout history reflect aspects of diasporic experience, while pushing the term itself into wider meaning of the transnational. -
Traduit de l’américain : Thomas Keneally and the Mechanics of an International Career
2013
single work
criticism
— Appears in: Book History , vol. 16 no. 2013; (p. 364-386)'Internationally, Thomas Keneally is one of Australia’s most successful authors, whether in terms of critical reception, book sales, or author profile. He is probably best known as the author of Schindler’s List from 1982—Schindler’s Ark in Britain and Australasia—even if his fame in this regard has been somewhat obscured by Stephen Spielberg’s multi-Oscar-winning movie of 1993. The story of how Keneally came to write this book and its subsequent success is one of the more remarkable episodes in Australian book history, and of course it is by no means confined to Australia, its point of origin only in a very qualified sense. Published simultaneously in London, New York, and Sydney, Schindler’s List appeared in at least eight different English-language and fourteen foreign-language editions even before the release of Spielberg’s movie. It won the Booker Prize for 1982, the first by an Australian novelist, although Keneally had already been short-listed for the award on three occasions. Across the Atlantic, it was one of the New York Times ’ Best Books of 1982, and in the following year the winner of the Los Angeles Times Fiction Prize. The movie’s success meant new English and American editions together with a dozen or so translations in 1994 alone, including Turkish, Japanese, Chinese, and Catalan versions. New Czech and Marathi editions appeared as recently as 2009.' (Author's introduction)
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Interpodes : Poland, Tom Keneally and Australian Literary History
2012
single work
criticism
— Appears in: Text Matters: A Journal of Literature, Theory and Culture , vol. 2 no. 2 2012; (p. 169-179)'This article is framed by a wider interest in how literary careers are made: what mechanisms other than the personal/biographical and the text-centred evaluations of scholars influence a writer's choices in presisting in building a succession of works that are both varied and yet form a consistently recognizable 'brand'.
Translation is one element in the wider network of 'machinery' that makes modern literary publishing. It is a marker of success that might well keep authors going despite lack of sales or negative reviews at home. Translation rights can provide useful supplementary funds to sustain a writer's output. Access to new markets overseas might also inspire interest in countries and topics other than their usual focus or the demands of the home market.
The Australian novelist and playwright Thomas Keneally achieved a critical regard for fictions of Australian history within a nationalist cultural resurgence, but to make a living as a writer he had to keep one eye on overseas markets as well. While his work on European topics has not always been celebrated at home, he has continued to write about them and to find readers in languages other than English.
Poland features in a number of Keneally books and is one of the leading sources of translation for his work. The article explores possible causes and effects around this fact, and surveys some reader responses from Poland. It notes the connections that Keneally's Catholic background and activist sympathies allow to modern Polish history and assesses the central place of his Booker-winning Schindler's Ark filmed as Schindler's List.' [Author's abstract]
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Thomas Keneally's Nightmare of History
1989
single work
criticism
— Appears in: Antipodes , Winter vol. 3 no. 2 1989; (p. 101-104) -
[Review] Blood Red, Sister Rose
1989
single work
review
— Appears in: The Good Reading Guide 1989; (p. 154-155)
— Review of Blood Red, Sister Rose 1974 single work novel
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Saint Joan Exorcised
1974
single work
review
— Appears in: The Sydney Morning Herald , 16 November 1974; (p. 11)
— Review of Gossip from the Forest 1975 single work novel ; Blood Red, Sister Rose 1974 single work novel -
[Review] Blood Red, Sister Rose
1974
single work
review
— Appears in: The Australian , 9 November 1974; (p. 19)
— Review of Blood Red, Sister Rose 1974 single work novel -
Saint, but Real as They Come
1974
single work
review
— Appears in: The Bulletin , 23 November vol. 96 no. 4933 1974; (p. 49-50)
— Review of Blood Red, Sister Rose 1974 single work novel -
[Review] Blood Red, Sister Rose
1974
single work
review
— Appears in: Nation Review , 29 November-5 December 1974; (p. 203)
— Review of Blood Red, Sister Rose 1974 single work novel -
[Review] Blood Red, Sister Rose
1974
single work
review
— Appears in: The Age , 9 November 1974; (p. 16)
— Review of Blood Red, Sister Rose 1974 single work novel -
Interpodes : Poland, Tom Keneally and Australian Literary History
2012
single work
criticism
— Appears in: Text Matters: A Journal of Literature, Theory and Culture , vol. 2 no. 2 2012; (p. 169-179)'This article is framed by a wider interest in how literary careers are made: what mechanisms other than the personal/biographical and the text-centred evaluations of scholars influence a writer's choices in presisting in building a succession of works that are both varied and yet form a consistently recognizable 'brand'.
Translation is one element in the wider network of 'machinery' that makes modern literary publishing. It is a marker of success that might well keep authors going despite lack of sales or negative reviews at home. Translation rights can provide useful supplementary funds to sustain a writer's output. Access to new markets overseas might also inspire interest in countries and topics other than their usual focus or the demands of the home market.
The Australian novelist and playwright Thomas Keneally achieved a critical regard for fictions of Australian history within a nationalist cultural resurgence, but to make a living as a writer he had to keep one eye on overseas markets as well. While his work on European topics has not always been celebrated at home, he has continued to write about them and to find readers in languages other than English.
Poland features in a number of Keneally books and is one of the leading sources of translation for his work. The article explores possible causes and effects around this fact, and surveys some reader responses from Poland. It notes the connections that Keneally's Catholic background and activist sympathies allow to modern Polish history and assesses the central place of his Booker-winning Schindler's Ark filmed as Schindler's List.' [Author's abstract]
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Thomas Keneally's Nightmare of History
1989
single work
criticism
— Appears in: Antipodes , Winter vol. 3 no. 2 1989; (p. 101-104) -
Thomas Keneally and "The Special Agonies of Being a Woman"
1983
single work
criticism
— Appears in: Who Is She? 1983; (p. 150-162) -
Blood Red, Sister Rose e la Trilogia Europea di Thomas Keneally
1982
single work
criticism
— Appears in: Australiana : Italia, Europa, Australia : Ieri e Oggi 1982; (p. 197-207) -
Thomas Keneally's 'Blood Red, Sister Rose' and Robertson Davies' 'Fifth Business' : Two Modern Hagiographies
1981
single work
criticism
— Appears in: The Journal of Commonwealth Literature , August vol. 16 no. 1 1981; (p. 96-108)
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cFrance,cWestern Europe, Europe,
- 1400-1499