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y separately published work icon The Hunter single work   novel  
Issue Details: First known date: 1999... 1999 The Hunter
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AbstractHistoryArchive Description

'An unnamed man, M, arrives at a remote house on the fringe of a vast wilderness and soon disappears into a world of silence and stillness. His one mission: to find the last thylacine, the fabled Tasmanian tiger. She is said to have passed into myth but a sighting has been reported... Uncompromising and compelling, Julia Leigh's stunning first novel does not give up any of its secrets easily. The Hunter is a haunting tale of obsession that builds to an unforgettable conclusion.'
Source: Libraries Australia (Sighted 18/03/2011).
'While on his mission, the hunter lodges with a grief-ridden family of outcasts whose father has mysteriously vanished after sighting the Thylacine. The hunter succumbs more than he'd like to the family's scant charms and when tragedy strikes has to further purge his psyche to focus upon his elusive quarry. There is something tantalizing at large here as well as the mythical beast in this soul-stalking story about a group of doomed creatures whose unfortunate extinction is never really in doubt.' - Reviewed by Chris Packham, naturalist and broadcaster
Source: British Union Catalogue http://copac.ac.uk/search?rn=3&au=leigh&ti=hunter (Sighted 14/10/2011)

Adaptations

form y separately published work icon The Hunter Alice Addison , Wain Fimeri , Daniel Nettheim , ( dir. Daniel Nettheim ) 2011 Sydney : Porchlight Films , Z1767310 2011 single work film/TV thriller (taught in 1 units) 'Martin David, a modern-day soldier of fortune, rendezvous in Paris with a mysterious man, Jacek Koman, who hires him to travel to Tasmania and attempt to locate a Tasmanian Tiger (or thylacine) - although the animal is believed to be extinct, there are rumours that one has been sighted - and its DNA, whether the animal is dead or alive, represents a fortune to vested interests.'
Source: Stratton, David. 'At the Movies'. http://www.abc.net.au/atthemovies/txt/s3312287.htm (Sighted 13/10/2011)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Notes:
Dedication: In memory of Jen Smith.
    • Ringwood, Ringwood - Croydon - Kilsyth area, Melbourne - East, Melbourne, Victoria,: Penguin , 1999 .
      Extent: 170p.
      ISBN: 014028351X
    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      Faber ,
      2000 .
      Extent: 170p.
      ISBN: 0571200095(pbk.)
    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      Faber ,
      2001 .
      Extent: 124p.
      ISBN: 0571200192(pbk.)
    • c
      United States of America (USA),
      c
      Americas,
      :
      Penguin ,
      2001 .
      Edition info: paperback
    • Ringwood, Ringwood - Croydon - Kilsyth area, Melbourne - East, Melbourne, Victoria,: Penguin , 2011 .
      image of person or book cover 1548874776795214248.jpg
      This image has been sourced from online.
      Extent: 180p.
      Note/s:
      • Published 7 September 2011, this is the tie-in imprint for the film (released October, 2011).
      ISBN: 9780143565215
Alternative title: La Caccia
Language: Italian
Notes:
traduzione di Lidia Lax

Other Formats

  • Also sound recording (Narrator: James Bean).

Works about this Work

Why Are Australian Authors Obsessed with Killing off Kangaroos? Donna Mazza , 2019 single work column
— Appears in: The Conversation , 4 March 2019;

'Kangaroos are the most visible of Australia’s unique animals, but despite their charm and national icon status, Australian writers perpetually kill them off.' (Introduction)

The Tasmanian Tiger From Extinction to Identity : Myth in White Australian Society and Fiction Anne Le Guellec–Minel , 2017 single work criticism
— Appears in: Literary Location and Dislocation of Myth in the Post/Colonial Anglophone World 2017; (p. 67-83)

The Thylacine or 'Tasmanian Tiger' today is a well-known and well-loved icon of the Australian world. Although it is probable that the species had already disappeared from mainland Australia by 1788, it was still present in Tasmania when settlement of the island began in 1803. As the colony expanded, this largest surviving carnivorous marsupial came to be seen as such a formidable threat to the pastoral economy that bounty schemes were introduced to eradicate it. Since the last captive thylacine died in 1936, however, it has become a symbol of Australian and more specifically Tasmanian identity. The heraldic crests of several towns in Tasmania feature at least one thylacine as supporter and the State Tasmania has two. It also appears on licence plates and until quite recently graced the labels of the state's best-selling beer.' Nor are all Australians reconciled with the official view that the 'Tassie tiger' should now be considered irreversibly lost. Every year, there are several claimed sightings throughout Australia and thousands of dollars have been put towards the quest for the thylacine, either to try to catch it alive or to clone it back to life using DNA material extracted from museum specimens. Tourist shops cater to thylacine nostalgia by selling T-shirts, magnets, and key-rings adorned with tigers and the caption 'I want to believe' as well as mugs and caps that simply read: 'I'm alive'. Such a reversal in the perceptions of the thylacine, from colonist's bane to national icon and naturalist's grail constitutes a striking example of the complex and contradictory uses mythical constructions of otherness have been put to in settler communities.' (Introduction)
 

Anthropocene Audio : The Animal Soundtrack of the Contemporary Novel Ben De Bruyn , 2016 single work criticism
— Appears in: Critique : Studies in Contemporary Fiction , vol. 57 no. 2 2016; (p. 151-165)
'Establishing a preliminary dialogue between sound studies and animal studies, this article investigates the representation of animal sounds in the contemporary novel. Focusing particularly on Cormac McCarthy's The Road, Julia Leigh's The Hunter, and Tom McCarthy's C, it highlights the way in which these novels register and celebrate endangered sounds on the one hand and hybrid, biotechnological sounds on the other, thereby unearthing an overlooked aspect of our cultural response to species extinction and the ongoing technological mediation of the nonhuman world.' (Publication abstract)
The High Court Decides : The Tasmanian Dams Judgment David Ritter , 2013 single work criticism
— Appears in: Telling Stories : Australian Life and Literature 1935–2012 2013; (p. 398-403)
Small Areas of Ground : Writing Animals in Globalisation Sally Borrell , 2012 single work criticism
— Appears in: Animal Studies Journal , vol. 1 no. 1 2012; (p. 60-74)
If globalisation can be described as an evolution of imperialism on a global scale, as postcolonial theorist Bill Ashcroft suggests, what does that mean for contemporary writing about animals? This paper examines how questions of globalisation inflect the representation of animals in postcolonial fiction, taking the examples of Julia Leigh's The Hunter (Australia), the recent film of the same name, and Laurence Fearnley's Butler's Ringlet (New Zealand). Their approaches differ in that both versions of The Hunter emphasise dangers associated with globalisation, whereas different reactions are in tension in Butler's Ringlet. However, I argue that in each case responses to animals figure as a strategy in the negotiation of globalisation, and encourage reassessments of local species relations in the process. I explore the implications of this approach to animals in terms of comments by Zygmunt Bauman about the potential for pluralism within globalisation. [Author's abstract]
The Hunter David L. Ulin , 2000 single work review
— Appears in: The Village Voice , 12 December vol. 45 no. 49 2000;

— Review of The Hunter Julia Leigh , 1999 single work novel
[Review] The Hunter Peter Gordon , 2001- single work review
— Appears in: The Asian Review of Books 2001;

— Review of The Hunter Julia Leigh , 1999 single work novel
Tasmania Appropriated Elizabeth Dean , 1999 single work review
— Appears in: Island , Autumn no. 78 1999; (p. 106,108-110)

— Review of The Sooterkin Tom Gilling , 1999 single work novel ; The Hunter Julia Leigh , 1999 single work novel
Endangered Craft Drusilla Modjeska , 1999 single work review
— Appears in: The Australian's Review of Books , June vol. 4 no. 5 1999; (p. 9-11)

— Review of The Deep Field James Bradley , 1999 single work novel ; Candelo Georgia Blain , 1998 single work novel ; The Hunter Julia Leigh , 1999 single work novel
Coming Soon 1999 single work review
— Appears in: The Sunday Age , 14 March 1999; (p. 21)

— Review of The Hunter Julia Leigh , 1999 single work novel
Australian Writing : Deep Ecology and Julia Leigh's The Hunter Tony Hughes-d'Aeth , 2002 single work criticism
— Appears in: JASAL , vol. 1 no. 2002; (p. 19-31)
Me and Julia Leigh Brian Purcell , 2003 single work biography
— Appears in: Newswrite : The NSW Writers' Centre Magazine , August no. 129 2003; (p. 13-14, 30)
Purcell recalls the process of editing the manuscript of The Hunter and the subsequent changes made to the text by Leigh.
Recolonisation and Disinheritance : The Case of Tasmania Peter Pierce , 2006 single work criticism
— Appears in: Critics and Writers Speak : Revisioning Post-Colonial Studies 2006; (p. 106-114)
'The essay discusses the appropriations of the history and landscape of Tasmania, in the nineteenth and twentieth centuries and particularly by outsiders to the state, whether they are European or from the Australian mainland' (106). Pierce draws on the texts cited above, and on critical responses to these texts to demonstrate the conflicted experiences of departure from Tasmania and, in some cases, an equally unsettling return.
'A Peculiar Aesthetic' : Julia Leigh's The Hunter and Sublime Loss Scott Robert Brewer , 2009 single work criticism
— Appears in: JASAL , Special Issue 2009;
Julia Leigh's re-animation and pursuit of the extinct thylacine in her novel The Hunter was for some reviewers an inappropriate appropriation of a Tasmanian icon. Martin Flanagan, while acknowledging the necessity of global engagement in issues such as extinction, criticised the cost of this engagement for local Tasmanian culture, writing in The Age 'I'm all for global awareness. What I'm against is clear-felling local cultures. We all know where that leads.' However, Flanagan's alignment of environmental disaster and the neglect of local identity is not as transparent as he suggests, given that, in this case, the vessel for that local identity is the no longer local thylacine. This essay argues that The Hunter examines the intersection of global ecological imaginging and local identity around the concept of place. Employing a sublime aesthetic, the novel unearths the radical loss that underpins the construction of place, forming a representation of extinction that speaks for what is lost to the landscape.
Tracking the Tassie Tiger : Extinction and Ethics in Julia Leigh's The Hunter Kylie Crane , 2010 single work criticism
— Appears in: Local Natures, Global Responsibilities : Ecocritical Perspectives on the New English Literatures 2010; (p. 105-119)
Last amended 18 Jul 2016 10:50:40
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