'The imaginations of convicts in Australia became attuned to the pairing of opposites and this led to strange tensions in their way of representing things. On Norfolk Island the meanings of words were reversed, so that ‘good’ meant ‘bad’ and ‘ugly’ meant ‘beautiful’. This undermining of official meanings produced the argot called the ‘flash’ or ‘kiddy’ language of the colony. Designed at first to keep private sentiments from being inspected, it eventually supported a system of dissident actions called ‘cross-work’ or ‘cross doings’. One word loomed large amidst these inversions: ‘fakement’, meaning booty, forgery or deceit. The verb has more extensive meanings: rob, wound, shatter; ‘fake your slangs’ means break your shackles. It also meant performing a fiction and accepting the consequences of it.' (Publication abstract)

'Sister Kate and True History of the Kelly Gang are two important rewritings of the Ned Kelly Legend—an indispensable part of Australian collective memory. Both novels aim to rewrite history: Sister Kate focuses on deploring the unfair treatment of women in the nationalist history, whereas True History places emphasis on disclosing the operations behind the colonialist historiography. Both can be viewed as postcolonial rewritings: Sister Kate is primarily keen on bringing to light the catastrophic consequences under the colonial rule, while True History centers on the colonized Other’s fighting back. They are both involved in subverting the facade of masculinity. To attain this goal, Sister Kate reveals a series of aggressive exclusion on the part of the Kelly Gang, while True History focuses on the phenomenon of cross-dressing. A comparative study of both novels helps to explicate different writers’ concerns and approaches in their reshaping of Australian collective memory.'

Source: CAOD.

'Mo Yan and Peter Carey are internationally acclaimed writers who have written a number of historical novels. They share many similarities in their characterization and narrative skills as they subvert official narrative memories; however, they differ in their explorations of their respective national psyches. Mo Yan's Red Sorghum and Carey's True History of theKelly Gang represent memories of historical events and figures which depict their bandits, Yu Zhan'ao (Red Sorghum) and Ned Kelly (Kelly Gang), as heroes in dark and turbulent periods. This article suggests that these characters are a reflection of the cruel histories that Chinese and Australian peoples have experienced in fighting against their enemies. Through Mo Yan and Carey's literary representation of memories within the characters of Zhan'ao and Kelly, the aesthetic value of the fiction brings the histories to life.' (Publication abstract)