'This article takes up a specific feature of Christos Tsiolkas's writing, his style. Focusing on Tsiolkas's fourth novel, The Slap, this article argues that Tsiolkas’s style is an inarticulate style: a style that does not always use the right word at the right moment, that employs language for narrative utility rather than its own sake, and that sporadically departs from standard usage and correctness in ways that do not appear artistically motivated. My argument is that The Slap is notable among contemporary fiction in that what I consider to be Tsiolkas’s worst sentences are the most revealing of his inclinations as a novelist. Consequently, I depart from what has become a standard formula in Tsiolkas's reception, that where Tsiolkas succeeds as a writer he succeeds in spite of his style. Finally, this article also contributes to recent debates about the purpose and vocabulary of Australian literary discussion: how critics debate the work of a prize-winning author, how criticism and praise operate in critical judgements, and the significance of style in evaluations of literature.' (Publication abstract)

'In this chapter, I approach contemporary Australian multiperspectival novels, i.e. texts in which the reader accesses the storyworld through different focalisers, from the perspective of narrative empathy. I argue that narrative empathy as a result of a text’s multiperspectivity can arise primarily if the narrative foregrounds conflict between focalisers. To illustrate this, I offer readings of Christos Tsiolkas’s The Slap (2008) and Gail Jones’s Five Bells (2011). Narrative empathy features differently in the two novels. While The Slap indeed invites readers to feel empathy on the basis of the multiperspectival structure of the text, this is not the case in Five Bells, since the narrative does not exacerbate conflict in the same way as Tsiolkas’s narrative does. At the same time, I suggest that it fulfils similar functions in both texts in that its main aim is to foster greater understanding for those whose subjectivities are marginalised within society.'

Source: Abstract.

'Percy Bysshe Shelley once described poets as the 'unacknowledged legislators of the world'. If this is true, Australian political scientists have shown curiously little interest in the role that literary figures play in the nation's political life.

'Novel Politics takes the relationship between literature and politics seriously, analysing the work of six writers, each the author of a classic text about Australian society. These authors bridge the history of local writing, from pre-Federation colonial Australia (Catherine Spence, Rosa Praed and Catherine Martin) to the contemporary moment (Tim Winton, Christos Tsiolkas and Kim Scott). Novel Politics unpicks the many political threads woven into these books, as they document the social world as it exists, while suggesting new possibilities for the nation's future. As political commentators of a particular kind, all six authors offer unique insights into the deeper roots of politics in Australia, beyond the theatre of parliament and out into the wider social world, as imagined by its dreamers and criticised by its most incisive discontents.'(Publication summary)