'The Australian writer Gail Jones excels at "transnational writing" and Sixty Lights is one prominent example. The novel explores the themes of home, travel and "intercultural fort\da" by highlighting the fluidity of identity. Lucy changes her "home" frequently only to showcase the difference of her identity, and her three journeys across the ocean construct her identity within the sameness. Hence Lucy carries out the practice of "intercultural fort\da," pursuing "the contact zone," which exemplifies "contradictory subject positions," "relationality," and "situationality." In this neo-Victorian novel, Lucy’s identity transcends space and time, dispelling the contradictions and anxieties in the construction of her cultural identity. She finally becomes a unique "global traveller" and a "woman of the future."' (Publication abstract)

'Lucy Strange, the protagonist of Gail Jones' Sixty Lights (2004), can be seen as an early example of a global citizen. Travelling between the periphery and the center of the British Empire, Lucy repeatedly makes sea-journeys that last for months—a kind of journey that no longer exists in today's world. Although this travelling helps shape her identity, it also makes her incapable of calling any one location her home. This article discusses the portrayal of Lucy as a modern 19th-century woman who is simultaneously a 21st century, neo-Victorian creation. It analyzes the links between femininity and voyages in the novel. Lucy's travels serve to depict the movement of women and mothers across the sea as an inherent part of globalization, writing them into what was often seen as a development led by male adventurers and businessmen. Jones presents Lucy as a young woman at the edge of modernity. Nevertheless, Lucy's lack of rootedness also questions whether travelling requires different—more modern—constructions of female identity.' (Publication abstract)