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AbstractHistoryArchive Description
Ken Gelder and Paul Salzman position Aboriginal writings as emerging alongside the growing body of multicultural writers in Australia through the seventies and eighties. Their work pre-empts Marian Boreland's discussion of the competing voices and the relegation of Aboriginal and multicultural writers to victim spaces, essentially the confinement of Aboriginal writing to the 'other'. Their analysis brings to the forefront the continuing debate over traditionalism/pluralism versus 'mixed heritage urban Aboriginal people' who appear to do nothing different, or nothing that non-Aboriginal readers relate to as repressing Aboriginal culture.
Contents
* Contents derived from the
Melbourne,
Victoria,:McPhee Gribble
, 1989 version. Please note that other versions/publications may contain different contents. See the Publication Details.
- Production, Ken Gelder , Paul Salzman , single work criticism (p. 1-10)
- Representing Short Stories, single work criticism (p. 11-25)
- Connections North, single work criticism (p. 26-53)
- The Women's Story, single work criticism (p. 54-81)
- Regions and Regionalism, single work criticism (p. 82-112)
- Other Alternatives : Speculative Fiction, single work criticism (p. 113-139)
- Dialogues with History, single work criticism (p. 140-165)
- Sex, single work criticism (p. 166-186)
- Voices of the Migrant Experience, single work criticism (p. 187-204)
- Aboriginality, single work criticism (p. 205-242)
- The Personal and the Political, single work criticism (p. 243-262)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Related Works
-
y
After the Celebration : Australian Fiction 1989-2007
Carlton
:
Melbourne University Press
,
2009
Z1553982
2009
selected work
criticism
'After the Celebration explores Australian fiction from 1989 to 2007, after Australia's bicentenary to the end of the Howard government. In this literary history, Ken Gelder and Paul Salzman combine close attention to Australian novels with a vivid depiction of their contexts: cultural, social, political, historical, national and transnational.
'From crime fiction to the postmodern colonial novel, from Australian grunge to 'rural apocalypse fiction', from the Asian diasporic novel to the action blockbuster, Gelder and Salzman show how Australian novelists such as Frank Moorhouse, Elizabeth Jolley, Peter Carey, Kim Scott, Steven Carroll, Kate Grenville, Tim Winton, Alexis Wright and many others have used their work to chart our position in the world.
'The literary controversies over history, identity, feminism and gatekeeping are read against the politics of the day. Provocative and compelling, After the Celebration captures the key themes and issues in Australian fiction: where we have been and what we have become.' (Publisher's blurb)
Works about this Work
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Metapolitics vs. Identity Politics : (Re-)Radicalising the Postcolonial
2013
single work
criticism
— Appears in: Southerly , vol. 73 no. 1 2013; (p. 57-74)'Postcolonialism may be defined as a theoretical framework for reading and appreciating cultural production between normative Western "forms of social explanation" and "more complex cultural and political boundaries" that demarcate responses to this normativity (Bhabha 248) As such, this framework has been extremely beneficial for, among other things, introducing and highlighting the work of writers from non-Western cultural backgrounds, particularly Indigenous and multicultural or diasporic writers whose works convey conceptual and aesthetic themes and values at once foreign and responsive to Western European literary modalities. Thanks to postcolonial theory and associated methodologies, a very diverse range of writers from a host of cultural origins and locations has been accepted by and incorporated into most, if not all, Western academic and literary milieus.' (Authors' introduction.)
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‘Women’s Writing’ and ‘Feminism’ : A History of Intimacy and Estrangement
2013
single work
criticism
— Appears in: Outskirts : Feminisms Along the Edge , May no. 28 2013; 'Women’s Liberation in Australia and elsewhere created feminist readers and writers. Consciousness-raising and reading and writing were intimately linked. Within the women’s movement, journals, magazines and newspapers were launched, small presses inaugurated and writing and reading groups formed. Subscription lists charted the explosion in new titles by, for and about women, and feminist bookshops stocked them. Women’s writers’ festivals, poetry readings and book launches were opportunities to find and promote new work, and to meet other feminists. Some women writers from the past were rediscovered and many contemporary female writers were championed. One of the most successful writers to emerge on the Australian literary scene in the 1970s – Helen Garner, whose debut novel Monkey Grip (1977) won the National Book Council’s Book of the Year award in 1978 – directly linked her ascendency to feminism. A specifically feminist literary criticism began to develop. More generally, feminism also helped to expand the market for women’s writing, so much so that by the 1980s major publishers were developing lists of women’s fiction and/ or subsuming feminist presses into their operations.' (Author's introduction) -
Archival Salvage : History’s Reef and the Wreck of the Historical Novel
2011
single work
criticism
— Appears in: JASAL , Special Issue vol. 11 no. 1 2011; (p. 1-21) 'In recent years debates about the ethics of portraying Indigenous subjects and subject matter have almost been superseded by circular debates about 'true' Australian history and who has the right to tell it. This has been disappointing in a context of the morally and formally imaginative speculations of historians such as Tom Griffiths, Fiona Paisley, Stephen Kinnane and Greg Dening, and also in a context of Indigenous studies Professor Marcia Langton's evidently too-hopeful calls for the activation of a shared cultural space. But as this local debate has become more heated, more public, the oddest spectacle of all in recent years was the recent lambasting of historical novelists.
Novelist Kate Grenville was a particular target of attack. Notable historians such as Mark McKenna, John Hirst and Inga Clendinnen vociferously condemned dramatic accounts of the past as anachronistic, unethical and, most curious of all in relation to the fictioneer's job description, untrue. I revisit the 'history wars' stoush to argue that these historians overlooked the suasion of broader, local political battles to determine and culturally enshrine particular narratives of Australian pasts; I argue that they also eschewed the linguistic turn of postmodernism and the contributions made therein by prominent historical scholars in their own field such as Hayden White and Dominic LaCapra. The paper finally shows how Grenville, Kim Scott and other novelists have engaged with colonial archival materials, deploying particular narrative techniques that enable them to generate compelling postcolonial dramatisations of colonial pasts. (Author's abstract)
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The Postcolonial Perspective on an Regional Literature in Australia
2010
single work
criticism
— Appears in: Postcolonial Issues in Australian Literature 2010; (p. 57-74) -
Liars vs the New Diversity: Is There an Alternative to 'Postmodernist' Literary Studies?
1996
single work
criticism
— Appears in: Current Tensions : Proceedings of the 18th Annual Conference : 6 - 11 July 1996 1996; (p. 30-38)
-
Plotting 5, a Quarterly Account of Recent Fiction
1990
single work
review
— Appears in: Overland , February no. 117 1990; (p. 52-57)
— Review of Oceana Fine 1989 single work novel ; The New Diversity : Australian Fiction : 1970-88 1989 selected work criticism ; A Man of Marbles 1989 single work novel ; The Mountain 1989 single work novel -
Diverse Voices
1990
single work
review
— Appears in: Social Alternatives , April vol. 9 no. 1 1990; (p. 58-60)
— Review of My Father's Moon 1989 single work novel ; The Fortunes of Mary Fortune 1989 selected work autobiography prose ; The New Diversity : Australian Fiction : 1970-88 1989 selected work criticism ; In the Winter Dark 1988 single work novel ; City to City 1989 selected work short story ; Flawless Jade 1989 single work novel ; Eight Voices of the Eighties : Stories, Journalism and Criticism by Australian Women Writers 1989 anthology criticism extract short story autobiography correspondence prose review interview -
Committed and Engaging Works
1990
single work
review
— Appears in: The Canberra Times , 24 March 1990; (p. B4)
— Review of The Good Reading Guide 1989 anthology review ; First Rights : A Decade of Island Magazine 1989 anthology poetry short story criticism autobiography ; The New Diversity : Australian Fiction : 1970-88 1989 selected work criticism ; Patrick White Speaks 1989 selected work autobiography correspondence prose -
For Intrepid Voyagers, a Literary Lighthouse by Which to Navigate
1989
single work
review
— Appears in: The Australian Magazine , 30 September - 1 October 1989; (p. 10)
— Review of The New Diversity : Australian Fiction : 1970-88 1989 selected work criticism -
Our Exiles and Fiction Writers
1989
single work
review
— Appears in: The Age , 26 August 1989; (p. 12)
— Review of The New Diversity : Australian Fiction : 1970-88 1989 selected work criticism ; A Sense of Exile : Essays in the Literature of the Asia-Pacific Region 1988 anthology biography prose criticism -
The Postcolonial Perspective on an Regional Literature in Australia
2010
single work
criticism
— Appears in: Postcolonial Issues in Australian Literature 2010; (p. 57-74) -
Archival Salvage : History’s Reef and the Wreck of the Historical Novel
2011
single work
criticism
— Appears in: JASAL , Special Issue vol. 11 no. 1 2011; (p. 1-21) 'In recent years debates about the ethics of portraying Indigenous subjects and subject matter have almost been superseded by circular debates about 'true' Australian history and who has the right to tell it. This has been disappointing in a context of the morally and formally imaginative speculations of historians such as Tom Griffiths, Fiona Paisley, Stephen Kinnane and Greg Dening, and also in a context of Indigenous studies Professor Marcia Langton's evidently too-hopeful calls for the activation of a shared cultural space. But as this local debate has become more heated, more public, the oddest spectacle of all in recent years was the recent lambasting of historical novelists.
Novelist Kate Grenville was a particular target of attack. Notable historians such as Mark McKenna, John Hirst and Inga Clendinnen vociferously condemned dramatic accounts of the past as anachronistic, unethical and, most curious of all in relation to the fictioneer's job description, untrue. I revisit the 'history wars' stoush to argue that these historians overlooked the suasion of broader, local political battles to determine and culturally enshrine particular narratives of Australian pasts; I argue that they also eschewed the linguistic turn of postmodernism and the contributions made therein by prominent historical scholars in their own field such as Hayden White and Dominic LaCapra. The paper finally shows how Grenville, Kim Scott and other novelists have engaged with colonial archival materials, deploying particular narrative techniques that enable them to generate compelling postcolonial dramatisations of colonial pasts. (Author's abstract)
-
Liars vs the New Diversity: Is There an Alternative to 'Postmodernist' Literary Studies?
1996
single work
criticism
— Appears in: Current Tensions : Proceedings of the 18th Annual Conference : 6 - 11 July 1996 1996; (p. 30-38) -
‘Women’s Writing’ and ‘Feminism’ : A History of Intimacy and Estrangement
2013
single work
criticism
— Appears in: Outskirts : Feminisms Along the Edge , May no. 28 2013; 'Women’s Liberation in Australia and elsewhere created feminist readers and writers. Consciousness-raising and reading and writing were intimately linked. Within the women’s movement, journals, magazines and newspapers were launched, small presses inaugurated and writing and reading groups formed. Subscription lists charted the explosion in new titles by, for and about women, and feminist bookshops stocked them. Women’s writers’ festivals, poetry readings and book launches were opportunities to find and promote new work, and to meet other feminists. Some women writers from the past were rediscovered and many contemporary female writers were championed. One of the most successful writers to emerge on the Australian literary scene in the 1970s – Helen Garner, whose debut novel Monkey Grip (1977) won the National Book Council’s Book of the Year award in 1978 – directly linked her ascendency to feminism. A specifically feminist literary criticism began to develop. More generally, feminism also helped to expand the market for women’s writing, so much so that by the 1980s major publishers were developing lists of women’s fiction and/ or subsuming feminist presses into their operations.' (Author's introduction) -
Metapolitics vs. Identity Politics : (Re-)Radicalising the Postcolonial
2013
single work
criticism
— Appears in: Southerly , vol. 73 no. 1 2013; (p. 57-74)'Postcolonialism may be defined as a theoretical framework for reading and appreciating cultural production between normative Western "forms of social explanation" and "more complex cultural and political boundaries" that demarcate responses to this normativity (Bhabha 248) As such, this framework has been extremely beneficial for, among other things, introducing and highlighting the work of writers from non-Western cultural backgrounds, particularly Indigenous and multicultural or diasporic writers whose works convey conceptual and aesthetic themes and values at once foreign and responsive to Western European literary modalities. Thanks to postcolonial theory and associated methodologies, a very diverse range of writers from a host of cultural origins and locations has been accepted by and incorporated into most, if not all, Western academic and literary milieus.' (Authors' introduction.)
Last amended 10 Jan 2013 15:22:44
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