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Tembo argues that, while such paranoia obviously finds its origins in the traumatic past, it may inhibit opportunities for reconciliation. But even there, the trauma resurfaces and prevents Chishugi from achieving emotional well-being and from re-estab- lishing trusting relationships. Tembo concludes the paper by issuing a critique of the kind of memorialization of the genocide in Rwanda which prevents true reconciliation by casting people into the rigid categories of victims and perpetrators.

He argues that the novel allows us to understand the difficulties experienced by those who find themselves in this marginal space. Lipenga observes that in her earlier novels Aboulela focuses on those who exist on the periphery of society; likewise in Lyrics Alley the spotlight is on how the disabled male protagonist finds alternative ways of asserting his masculinity.

The article is important to disability studies because of its focus on the experiences of disability in African literary representations. Book Authors and Their Changing Circumstances: Survey Method and Results surveys over a thousand authors to assess how they are adapting to technological changes affecting the industry worldwide.

Larger-scale findings that professional writers do not in the main earn very much, or that novelists and poets are most likely to seek grants are less surprising, though it is worth knowing that seemingly better conditions for writers today are not all they appear to be. Average annual production was 1. Piracy, mainly via the electronic media, had affected 30 per cent of respondents however.

The Australian government has committed to a new Book Council, despite downgrading the Literature Board. Following a brief history of older production Meanjin, Realist Writer, Overland, Quadrant, Southerly, Westerly, Poetry Australia , he concentrates on the proliferation in the s lots of ephemeral poetry mags and student newspapers partly connected to the counterculture around the Vietnam War and spreading beyond the major cities.

Edmonds sees a calmer sorting out in the following decade, changes to editors and society in the s, and changes induced by the Internet since They are problematically located between private reading, elite thinking, and the public arena, and require good organization, links to a university, and government subsidies while often expressing an anti-establish- ment and anti-commodity capitalism ethos.

As a guide to who was writing in which journals, and to key influences such as the innovative Tabloid Story, which piggy-backed on other journals and newspapers and re-established the short story in the national literary scene , Tilting at Windmills is the book to read. Chapters 7 and 8 are of particular interest for tracking shifts from a national to a global outlook, the impact of creative writing courses, and the acceptance of contemporary literary theory.

Edmonds is thorough, though he devotes a lot of space to Quadrant when more on Southerly might have been expected. Less respectably, Man magazine was an Australian forerunner to Playboy and significant in publishing some literary writers. It makes useful contrasts to its later American replacement. All texts show the degeneracy of the bourgeois male, but the Australians are less inclined to moralize about it.

Maxwell discusses medical thinking about deviant behaviour that might have informed the stories. Several short stories are adduced as examples, Mary Fortune being one writer. The bush is a site of lurking violence and boundaries are dangerously unstable. His Contemporary Australian Literature: A World Not Yet Dead is unabashedly autobiographical in its framing and reads Australian literature in relation to the normalization of neoliberalism as a global political discourse.

Birns moves deftly through his own experience with Patrick White and Les Murray to provide a kind of allegory for the place of Australian literature on the world stage. He shows the way the discourse of economic rationalism smuggled neoliberalism in through the back door of Australian public discourse.

For Birns, if an author provides insight into the Antipodean embrace of—or, at times, resistance to—neoliberalism, then she or he is worthy of survey. The honest umpire delivers a balanced, optimistic, but nonetheless critical evaluation of a country that has fascinated him for thirty years.

Juxtaposing texts rather than undertaking fully fledged comparative reading fails to show much about how one text illuminates the other, but the readings are sound and the general proposition is well worth attention. Invoking Aboriginal concepts and an understanding of genre as network and process, she looks following Manuel De Landa to a sense of history as a dynamic of non-linear intersecting forces.

Robert Dixon uses Henri Lefebvre, Neil Brenner, Nirvana Tanoukhi, and other analysts of space and scale to question the value of accepting national or global frames for literary study. Usefully, he asks what scale a book favours body, home, suburb, nation, region, etc. The issue also contains articles on individual writers, which are listed below. Situating itself in a wider space of international comparative cultural studies, Transcultural Writers and Novels in the Age of Global Mobility by Arianna Dagnino includes interviews with Australian writers Inez Baranay and Brian Castro.

There is also analysis of their work in the context of the multiple negotiations entailed in working across national and cultural boundaries. Castro gets his deserved share of critical attention, but the more peripatetic Baranay slips off the Aust. At which reading moment does it happen?

The Minister for Customs declared the former a Satanic obscenity, but Board opinion differed: it was too literary to be censored, or not literary enough to be worth censoring p. The pulp novel was considered either so trite it was not worth worrying about or such bad writing that the public should be protected from it.

By admitting or denying entry to texts, censorship acted alongside other modes of nation-making to define the literary field. Fisher surveys the legal and publishing situation from the s onwards, with Australia banning books by Gore Vidal, James Baldwin, and its own G. With legal and social changes in the s, censorship was relaxed. Gay activist newsletter Camp Ink began including poetry, and saw more gay magazines appearing and a novel, Wayward Warriors, by Wal Watkins.

Popular publishers such as Horwitz began issuing gay fiction; Frank Moorhouse included gay material in his stories. Elimination of native peoples and plants by the introduction of sheep and cattle was motivated by images of wilderness being civilized, though settlement on the land meant the unsettling removal of an authentic ecology.

As environmentalism takes hold, pastoralists shift from being heroes of settlement to villains of destruction. If Foucault saw Linnaeus as stripping animals of language and history, Gould and Brady restore both to them, if only to implicate them in the colonial project. She compares the work of Louis Becke with that of the naturalist E. Banfield, whose The Confessions of a Beachcomber she takes as marking a shift from the vagabond scrounger to the ecologically minded isolate.

Ecological interest is, however, matched by interests in hunting and trade. He notes that many teachers outside Australia first encountered that country by way of films promoted by the national government in the late s and through the s. After a quick history of Australian feature films, Sheckels quickly considers Australian Rules, Rabbit-Proof Fence, Beneath Clouds, Samson and Delilah, and The Sapphires as illustrations of race relations and insertions of black voices into the national imaginary.

This is a chapter in Language and Identity: Discourse in the World, edited by David Evans, which champions the cause of minority cultures across the world. One of the first dictionaries in Australia was a list of words of the Eora people compiled by Lieutenant William Dawes. The book is detailed and wide-reaching, ranging in its methodology from consideration of the material circulation of life-narrative texts to the analysis of their production and reception.

Chick plays with tensions between third- and first- person voice in a narrative without a reconciliation, its gaps partially filled by photographs. Susan Hosking delves into the correspondence between George Meredith, a prominent free settler in s Tasmania, and his second wife, Mary Anne Meredith.

Writings for Syd Harrex, pp. Consumerism and the individual feature in postfeminist narratives, though this vision is challenged by working- class and older women. Nonetheless the transformation myth holds for all work. While some components of The Blackwords Essays began in , this year saw the completion of this set of resources hosted on AustLit and focused on Aboriginal literature, written by Anita Heiss.

Nine essays are predominantly introductory and very comprehensive. The book functions effectively both as an introduction to the field and as a work of scholarship in its own right. The centenary of the First World War continues to generate literary reflections.

Most attention of late has gone to writers of East and Southeast Asian heritage, so analysis of the often quite different dynamics of South Asian migration including the double migration of Indo-Fijians is welcome. The subtitle indicates their thematic treatment, and texts are somewhat overwhelmed by lengthy coverage of social theory. The books animate the landscape; hauntings lead to the exposing of past killings.

In Kelleher, white suffering displaces black deaths and the past is ritually buried. Australian literary traditions of horse-riding and resourceful country women are invoked Catherine Martin and Rosa Praed are forerunners. Revegetation of over-cleared land and romantic tales of homecoming suggest white settlers assuming the custodianship of country commonly accorded to Aborigines and making their home on Aboriginal land.

Lawrence draws on Gadamer to suggest strategies for literary representations of alterity. Traditional owners of Stradbroke Island have resolved to end sand mining by Baston also interviews Jethro Woodward ADS 67[] 95— covering similar topics, and his work on Antigone and for film. With the expansion of international travel after the Second World War, Tivoli could select overseas performers subject to affordability and their fit with ideas of Australian audience tastes. Existing biographies tend to provide an incomplete picture based on anecdotes, whereas company papers show definite patterns such as the shift from patriotic performances to exotic acts, or that from performer-centred management to hard-nosed business.

Tivoli sought to combat the rise of television by putting on more musical comedies, and hired people it could get PR mileage from in extra radio and magazine pieces. Productions declined under s Cold War conditions, though the folkloric Reedy River [] was a hit, and the New Theatre survives to uphold a radical tradition in Australia.

They give a detailed account of the economic and sociocultural conditions such as association with unions and their fortunes and the relation to new media that precipitated and then increasingly limited the mobility of these theatres. He records their rise through big-city arts festivals to performing in Edinburgh, the shift from big musical performances to smaller actor-centred ones, and the struggle to combine professional smoothness with original messy vitality.

An appendix lists plays with Gothic content from French uses Genette to read the Melbourne production by an independent company known for its transformative adaptations. Angela Campbell takes up the mix of memory, desire, history, politics, and myth that is cultural heritage to examine three representations of the Eureka uprising on the goldfields of Ballarat in She cites Theresa J. It is apprehended as sensations, and later work situates these in historical as well as spiritual contexts.

Inez Baranay is an Australian writer who was born overseas and later travelled widely, writing about places such as Papua New Guinea and India. Since the fixation on A. Hope and Judith Wright lost hold, apart from Les Murray, amongst Australian poets, Bruce Beaver has seemed to attract the most international attention. Schetrumpf lists all the names referred to in Letters to Live Poets and relates them to a postmodern compilation of possible selves as antidote to bipolar fragmentation.

He can also register simultaneous psychotic fantasy and poetic appreciation of it, horrific mortality and calm reflection on it. Dixon wonders whether a nation- based dismissal of An Australian Squire as a colonial curiosity ought not to attend more carefully to such a mix of pre-national flux and transnational networking. He also questions where the point of observation is for the world literature scholar and how that might also distort views of local writing at a specific point in history.

Anthony J. The particular significances of some buildings Carey mentions are explained. Students find the novel engaging and it introduces them to cultural traits such as anti-authoritarianism and egalitar- ianism while prompting consideration of the appeal of historical fiction. The text is studied in three tranches accompanied by activities around themes of justice, Irish—English relations, the nature of the hero, and the outlaw.

Contextual reading moves into close reading followed by some work on reception. Antonio Cassella went on to write a thesis about representations of Italy in Australian literature, but before that he wrote a novel, The Sensualist []. Messina uses Freud and Kristeva, plus readings of the Gothic, to suggest that the Australian characters suffer from a melancholy born of the inability to shed the colonial past, and that they need a comfortably distanced location such as Sicily onto which to project their dreams.

The essay swings between close attention to textual detail and broad theorizing. There is a brief diversion into trauma and the labyrinth. David Attwell takes a similar approach in the much longer J. Nonetheless, for students of Australian literature eager to understand Coetzee in that context, it offers useful reflections. Attwell moves from considering the importance of Roland Barthes and T. Davis came to public life as an activist and public servant in the early s, before recognition of Aboriginal rights.

Reviews of Australian literary studies tend, on the whole, to refer to such themes as nation, colonization, and the struggle between the bush and the suburbs. This focus is somewhat shifted by attention to the hard-SF writer Greg Egan. Consequently, many Aboriginal servicemen passed as European in order to serve. This tension produces both limits on and new possibilities for artistic practices of counter-hegemonic remembering. Female desire is allowed, but consequences are also shown, and family somehow muddles through as a kind of song.

Eliot for his formal bases. Syd Harrex was best known for his promotion of postcolonial literatures, but he also published books of poetry. Mathew surveys critical work on chick lit, then reads Not Meeting Mr Right and Manhattan Dreaming, showing their strategic management of humour, their conservative reproduction of gender roles and sexuality, and how race throws the conventions of the genre such as consumption into an implicitly politicized critical light.

The tension between being co-opted into the mainstream and resisting it is a central concern. Hudson wrote advocating world citizenship in Jindyworobak Review []; his poetry shifted focus from love and nature to war and politics. Technology failed and Lasseter lost his camels, his supposed gold-seam, and his life. Balaa argues that Jarrar mixes positive views of displacement with naturalistic attention to suffering. Balaa relates Jarrar to the Beirut Decentrists: women writers who stayed in Lebanon during the civil war but scattered across the country.

There is also an interview with the author. Another Keneally interview, dating from , mounts a defence of The Chant of Jimmie Blacksmith as attempting a decolonizing narrative in advance of later more sophisticated approaches to racial representation. The Chinaman, more polyphonic and intertextual than previous work, is also strongly autobiographical and uses relationships on a Barrier Reef tourist ship centred on the bigoted captain and a Japanese passenger to question the direction of a nation bordering Asia.

This close reading explains some intertextual and historical allusions. Henry George Lamond is a somewhat forgotten Queensland writer who nonetheless was widely published, reviewed, translated, and read in England, the United States, and Australia in the s. It is a descriptive piece owing much to existing scholarship, and is perhaps most interesting for its comparisons to other papers of the time. The three central characters meet, live and die by the sea, which figures desire for intimacy, promise of escape, limits to movement, separation.

Caroline Leakey, best known for her novel The Broad Arrow [], also wrote poetry, some collected in Lyra Australis []. As an Australian writer or otherwise, his connections to the rise of the New Left in thes are charted by John T. The pastoral presents rather than resolves endemic contradictions in which the non-human world provides a sort of grace as a hint of future blessing in the real imperfect and world-aware present, even when that is manifest as vertigo—the obverse of epiphany.

The reading uses Derrida and Lorenzo Veracini as a basis for showing the disruptions to home and hospitality at the heart of colonial settlement who is host, who the guest? The novel appears after the Mabo land-rights case and seems to allow a history of disturbance of boundaries while reinscribing that disturbance into a national narrative, though its engagement with the notion of hospitality suggests a deeper critique that acknowledges the host—guest relationship rests on an unequal split one that Gemmy as both self and other shows up.

There is no reconciliation or satisfactory mourning in the novel: the national home is shaken. She employs images of threads, stitching, braiding, weaving and, later, photog- raphy as signs of pulling together and composing memories in her slippery first-person-narrative locations.

Philips to Ivor Indyk to David Carter. Yet his work is entirely out of print. JASAL i[] is a themed issue on voice, sound, and space. Use of Kriol removes distinctions between genders and between humans and nature. Eric Partridge, if he is known, is known as a lexicographer, born in New Zealand and educated in Queensland.

She deploys sensory impressions to suggest rather than describe characters, and produces broken sentences and conversations that go nowhere. Stead is also considered in an issue of Australian Literary Studies focused on the pastoral. This work relies on the provincial background of characters and contrasts to metropol- itan London; it also features conversations, songs, and an awareness of the power of voice, recalling the shepherds of pastoral, whose voice is their weapon of seduction and plaint.

Specifics also function within a generalized frame, as in pastoral. It is a careful reading of images and text, well situated within existing work on Tan. Using identity-construction theory from Manuel Castells, Raewyn Connell, and Maria Pallotta Chiarolli, Segura reads the quest for belonging in each of the three central characters.

Torrents, a Spanish cane- cutter in north Queensland, published internationally from to , using the documentary-essay-story form popular in European and Latin American newspapers to voice the experiences of Australian labour and migration. Torrents went into exile owing to his anarchist beliefs. He mixed hard labour with wide reading, translation, and writing across a range of genres, publishing in Spanish in New York and Barcelona.

His work is an important basis for studying later writing by Hispanic immigrants. Pearce adds the irony that Disney went against the wishes of Travers twice over in this recent project. The latter of these is disordered, he argues, by capitalist consumer life. For McCann, Tsiolkas presents an unusual example of a writer who is both embedded in this culture by virtue of his own celebrity and one who fosters a persona capable of challenging it.

Hence McCann posits celebrity as a new mode of resistance to the commodification of authorship that emerges with The Slap pp. The hauntings are signs of violations of hospitality. Isaac, the cosmopolitan tourist-vampire is thrown to the extra-legal fringes of Europe where the contradictions of unconditional hospitality and border protection after McCann, Derrida, and Nikos Papastergiadis are exposed.

There is no sense of looking for a Europe of convivial multicultural cosmopolitanism, and Australia is no clean refuge from conflict and haunting. Carmody Antipodes i[] —61 keeps the great man in the critical limelight. The argument uses dense theoretical phrasing to compact a long line from text to world.

Textual detail is mixed with some archetype analysis to produce a compelling reading. The result shows how little he relied on his income as a writer, how intricately he worked his life-fiction identity, and how early he experimented across genres. It gives insights into his process of composition and his historical research. The collection has since generated publication of the unfinished The Hanging Garden. Escaping from becoming a sterile London intellectual, White nonetheless declared he felt himself to be a Londoner; he always subscribed to the Observer, even though it gave him his worst reviews; he hated boarding school, but it gave him access to London theatre and inspired his early writing.

London inducted him into homosexual society and subjected him to the Blitz that figured in his later writing. After his long association with New York, his London base with Jonathan Cape produced his later fiction. This is one of the strongest chapters in the collection.

White seeks to refuse commodity but retain materialism. Williams and White are linked by performances in writing that negotiate a time of socially enforced closeting of homosexuality. Camp is a mode of expressing this and queerness emerges in The Twyborn Affair and afterwards. Henderson suggests these are indirectly informed by what Williams overtly mentions: the gay theatre language called Polari.

White requires none of the creative misreading that queers otherwise normative modernists because he directly figures queer lives. Moreover, his Australian location gives his work an unusual sense of transnational and postcolonial energies that supplement current work on queer modernists. White offsets his attention to something transcendent with an accumulation of material objects, signalling something beyond and with language, beyond and within modernity.

William Willis was best known in Australia as a corrupt politician in the first decade of the twentieth century. He fled to Singapore and then London, writing popular accounts of everything from racing to white slavery. Discussion ranges widely, with some commentary on Eyrie. Early settlers commonly spoke of the silence of the land and began imposing European words and urban noises onto it. Canada a Books Several books have been published in that make important contributions to the critical discussion of Canadian literature and culture and their role in the defining of the nation.

The selection of texts deliberately includes speakers and writers who cannot easily be categorized as Indigenous or Canadian, because these categories are themselves products of colonization. The texts and speeches studied thus destabilize the notion of state and literary canon, the two being closely linked in the process of the definition of national identity.

However, the variety of experiences represented simultaneously emphasizes the fact that the notion of identity is connected to land rights. But in this relation to the land, Fee points out the epistemological difference between the Romantic nationalism in which Nature is terrifying, and the Indigenous world-view which consists in identifying with it.

Evelyn P. Although Nature in Translation: Japanese Tourism Encounters the Canadian Rockies, by Shiho Satsuka, primarily belongs to the field of anthropology, it also presents fruitful intersections with literature, which makes it relevant to include here. The book analyses the role of tour guides in translating the relationship between man and nature for the Japanese tourists who started travelling en masse to Banff in the s and s.

The main argument is that nature is always in translation, and that the translation of nature is a philosophical, but also a political and economic, question. The literary interest of the book hinges on the notions of translation and narrative it studies. Their translations of sensibilities of nature had an impact on the lives of ordinary people in contemporary Japan, opening them up to sensibilities of modernity.

And their own life stories, which consist in having left the Japanese corporate system and chosen to become guides in the Canadian Rockies, driven by the notion of freedom, have contributed to the construction of a global space. However, what is categorized as middlebrow varies over time, and there is ambivalence in the mediation the term implies, between high culture and mass culture. Through the chosen angle of study of magazines, the book paves the way for the study of an important, but until now insufficiently explored, aspect of Canadian culture.

Several books investigate various grounds of newness and creativity. It is further complicated by the association of Newfoundland, an island settled by British and Irish settlers, and Labrador, which is part of the Canadian mainland and where the Inuit population is a majority, into a single province. The book comprises chapters written by academics and artists from Newfoundland and Labrador, and it ends with a series of interviews with artists and writers conducted by the editor, which gives a vivid sense of the questions at stake in artistic literary creation.

The book has a comprehensive ambition so the topics of the twelve chapters are varied, ranging through history, travelling, fiction, Aboriginal writing, poetry, theatre, film, storytelling, painting, and sculpture. The volume thus achieves its goal of providing an overall view of contemporary Newfoundland and Labrador culture.

The collection gathers the proceedings of the Academic Conference on Canadian Science Fiction and Fantasy, from to The conference first took place in , and Weiss, who has been acting as its chair, edited two earlier volumes [, ]. In the introduction pp.

The literature has been written both in English and in French, and some regional differences can be traced. The themes of identity and alienation are present, but these are not particularly Canadian. The Cold War and potential nuclear disaster from the s to the s, and scientific and technological advances, have influenced the genre since. These are two of the established writers in the genre. The posthuman and vampirism are some of the themes examined. Cultural Mapping and the Digital Sphere: Place and Space, edited by Ruth Panofsky, Kathleen Kellett, Susan Brown, and Mary-Jo Romaniuk, will draw the attention of researchers interested in digital humanities, as it largely deals with infrastructure rather than research per se.

Two chapters are devoted to maps. Reingard M. The handbook, meant as a guidebook to that new field, then unfolds in sixteen other chapters that map the ground thematically, with a cultural studies approach. Mason, and Christl Verduyn, is part of the TransCanada series edited by Smaro Kamboureli, and the outcome of a conference that was held in Sackville, New Brunswick, in In the introduction Lecker points out that anthology editors are subject to criticism for upsetting the status quo, or making choices that are too conservative, or too subversive pp.

The thirteen chapters of the book, which Lecker had hoped would be more consistent, explore and reflect this conflicted story. Bentley studies the critiques raised by W. Janet B. The author successively analyses the colonial literary humourists Thomas McCulloch and Thomas Haliburton and the cartoonist J. Pollock and D. Greig pp. Criticism of the literature of various diasporas often adopts a relevant transnational perspective.

This is the case especially with studies of Caribbean literature, which may comprise the work of Canadian writers of Caribbean origin. She argues that the characters in Soucouyant are depicted against a Canadian nation defined by its market multiculturalism, while their Caribbean past is tied to global histories of economic and sexual exploitation. Consumer citizenship is seen as a mode of diasporic belonging, notably through the circulation of US commodities and culture.

Jameela F. Esther L. Michael A. Bucknor thus convincingly advocates the pivotal place of Canada in the transnational circuits of exchange that make up what Paul Gilroy has called the Black Atlantic. See also the discussion of Beyond Windrush in Section 4 b below. Studies of Canadian writers of Asian origin are also conducted trans- nationally. The Yiddish diaspora is now mostly part of history. This article is a form of tribute to the role they played. Atwood uses the crime fiction tradition—the whodunit, the clue puzzle, and the spy thriller—in a number of her novels; the works considered here include Surfacing, Bodily Harm, Alias Grace, The Blind Assassin, and a selection of short stories.

Regrettably the book was not edited to lose its form as a Ph. Keren concludes by making a strong point about the role of narrative in contemporary posthuman society. She was born in Toronto in , studied at the University of Toronto and taught at McGill before teaching in the United States; in Canada she is claimed as a Canadian writer. Denham, who edited several volumes of the collected works of Frye, now in print at the University of Toronto Press in twenty-nine volumes plus the index.

Braz reformulates this idea into his central argument: that Grey Owl had committed cultural apostasy in the eyes of Europeans, and was criticized for this very reason. If the field falls into familiar categories—historical, settler, Indigenous, prairie, multicultural, feminist— these are continually revised and updated by new critical, cultural, and theoretical perspectives.

The varieties of attention directed at multicultural citizens, their communities, and their traditions have also been notable, sometimes migrating into surprising but fruitful territories for exploration. In Unless the unexplained suicide of a Muslim woman shatters the assured surface of literate, liberal, middle-class life. No longer quite Ukrainian but not quite Canadian either. Literary multiculturalism and its critical exponents are not universally celebrated in the critical writing surveyed here.

Ganz finds a connection between her work and other Canadian literature, not in her migrant status, but in the Buddhism Thammavongsa shares with Phyllis Webb, for example. Literary study of race and religion requires critical distance from, as well as familiarity with, the contemporary contexts of cultural discussion, notably those shaped by multiculturalism and its discontents. Scholarship on nineteenth- and early twentieth-century Canadian literature in tends to avoid the harsher binaries of postcolonial criticism, without exculpating settler culture or sanitizing its writing.

Other critics find new or particular approaches to the study of colonial writing. Jessica Langston sets out to liberate the criticism of historical fiction by moving attention to the peripheries of the texts so as to destabilize relations between narrative and history.

In articles on late twentieth-century and contemporary Canadian literature we also find critics seeking to avoid over-explanatory systems of thought or to rejuvenate familiar ones. We also find adventurously synthetic interpretative contexts in which to read familiar writers. Geopoetry here is part of a project of forcing reconsideration of how we attend to nature without recourse to the tropes of sublime experience. The authors adroitly survey large fields with admirable precision.

Certainly, the prospect of mutual cross-fertilization by such opposing ends of the spectrum of literary taste is enticing, although it is questionable whether it would produce more readers of contemporary poetry. Two special issues of journals in indicate the resilience of both culturalist interpretation and of a more specifically literary kind. The secrecy. To read Munro properly tuned one must attend closely to the grammatical sleights cunningly worked into these openings.

Special issues of these journals are particularly important in continually directing attention not only to major authors like Munro, but also to neglected areas in the field or to finding new ways of looking at familiar ones. The turning back in memory and critical conscience becomes a multiply faceted point of entry not just into white racism years ago but also into the unresolved condition of Asians in contemporary Canada.

Indeed, the brief period since the collection appeared has made more urgent the multiple implications represented by the act of rejection of the imperial citizens aboard the Japanese ship for our own time in which race, migration, and refuge have become, again, fearful existential issues for countries as well as communities and individuals.

By examining its shifting representations, Bhati endorses the national and cultural value of works that memorialize history, notably in this case a moment that involves a negative model for the present. James W. Martel is an apt example of the Canadian author as a global citizen, born in Spain, and not confined as a writer by nationality.

It might seem, then, inappropriate to approach his work, which deals in universal themes, by way of a national literature. Yet he is a Canadian literary intellectual actively committed to the progressive politics associated with Canada, and Canadian writing has long been able to combine a global view with local, regional, and national modes of attention. An Austrian novelist, Bernhard inserts the Canadian pianist into his novel, while scarcely noticing his Canadianness.

This provides Blake with an unusually detached but effective point from which to view the debates about Canadianness and its responsibilities or lack thereof for the author or the critic. Margaret Atwood receives her deserved share of interpretation in , extending a richly varied background of study that ranges across the modes of her writing from speculative fiction to political critique.

Thus the trilogy responds to the threats posed by an unholy intersection of technology, synthetic biology, and capitalism in reducing humans to tools. Two examples of ethically turned criticism, one on MaddAddam, are found in Studies in Canadian Literature. This is an important essay for the study of literature and narrative within the field of the medical humanities that enriches each of the seemingly distant disciplines it joins—ethically, critically, and product- ively—by looking both ways.

Carol L. The critical exercise is supported by the analogies drawn between D. The editors, Christopher Kirkey and Tony McCulloch, chose to focus on younger scholars and collected a strong body of essays offering a fresh sense of critical enterprise. Not focused on the fiction itself, the article does much more than simply register the contexts of reception.

Critical articles, while less ambitious in scope, continued to contest white literary representations of Indigenous history and culture. Julia A. Scott directly contributed to the educational system that savagely impacted on Indigenous children, who also figure in his poems and stories. Scott is thus a fascinating subject as an administrator and poet in whose life and work the two fields of activity are entangled. Where the nation state, ignoring the habitation, history, and cultural being of First Nation peoples remains so problematic for the Indigenous writer, one welcomes such engagement with Indigenous studies as a transnational phenomenon comple- menting a contemporary emphasis in, for example, the Pacific.

Thomas King invests border-crossing in the late twentieth century with his caustic satirical humour in Green Grass, Running Water, a novel still deservedly attracting strong critical attention for its testing of the intersection between popular culture and the political, and especially the image-making that imprisons whole peoples for generations. While Hellegers is keen that history told from a colonial perspective must give way to Indigenous perspectives and world views, this is not to be effected merely by way of vague generalities about culture and belief structures.

The Hudson Bay Company is given special attention here, from its fur-trading posts to modern consumerism. Critical attention here is a means of casting back to forms of memory deeper than those preserved by and predicated on literature. As Braz points out, Findlay does not much engage with either literature or Indigenous literature, so is an odd model to be adopted by the humanities or by Indigenous scholars. Moreover, to reform literary studies by concentrating its attention on the rejection of colonization is to overlook the broader frame of scholarly and critical activity.

And he might have looked more broadly at Indigenous studies. In the s British expatriate novelist Malcolm Lowry was inducted into the Canadian literary canon largely on the basis of his habitation of a beach near Vancouver. In fact, his sense of affiliation to place as an author was multiple, and Canada had as demonstrable a claim as Mexico or the Wirral peninsula.

Contemporary Canadian multicultural writing prefers to accom- modate rather than eliminate the variety of nationalities or ethnicities that might claim its authors. Lebanese women, however, have no capacity in a patriarchal society to discover and express identity.

This is a rewarding essay, attending closely to literary language and readerly involvement in a text that uses a specific literary form and a technique of stylistic antithesis both to oppose savage legality and to re-establish battered humanity. This suggests a promising linguistic approach to comparative Indigenous literatures involving what we might call subversive code-switching that would also speak to Alexis Wright in Australia and Patricia Grace in New Zealand.

Aesthetic practice in this dark vision of contemporary reality indicates modes of resistance even if one wonders how effectively dystopian novels or poems might mobilize fundamental change when contemporary politics have them- selves appropriated the techniques of fantasy and exaggeration. In her fictional Vancouver, Lai depicts a divided society threatened by ecological disaster and misused technology.

Her study focuses on E. Victoria J. The map of the Caribbean has to be expanded. She focuses on the post-war wave of migration to the metropolis, on the Brixton and Tottenham uprisings of that signalled a change in black politics in London, and on second- and third-generation West Indians. The immigrant novel is also the subject of Alicia E.

The influence of the British canon on Caribbean literature was also the focus of two essays in Small Axe i[] devotes a section to Stuart Hall. A significant amount of critical attention was directed at Caribbean women writers in Chansky examines this text apropos of A Small Place to make fuller observations about Caribbean diasporic subjectivities. Katherine C. Thornfield Hall, the English country house, allows for an examination of the ways in which race functions in a post- imperial context.

Family history becomes a means of interrogating identity and colonial history in her texts. Beyond Windrush both revisits and looks beyond the terms in which these foundational writers have been regarded and canonized to focus on aspects of the Windrush era previously overlooked or under-investigated.

Genres besides the novel, such as the short story, memoir, and journalistic writing, are reconsidered. Strenuous subjects such as non-heterosexuality and environmental urgencies are given promin- ence. And a generous range of geographical locations other than London, all pertinent to the period and its writing, are visited and explored: the anglophone and francophone Caribbean, Canada, and the United States.

The aim is to do more than simply rehearse familiar themes and assumptions of Caribbean literary foundations. Angelique V. Nixon examines how writers such as Derek Walcott, Kamau Brathwaite, and Sylvia Wynter have confronted the master-narratives of Caribbean history. Nixon also considers in these terms V.

Poetic, prose, and dramatic forms are examined throughout Caribbean Irish Connections. Lee M. In this perhaps unexpected, but certainly rich, comparison of peoples and literary traditions connected by histories of colonization and dispersion, the chapters find points of contact, exchange, and commonalities in the ways in which writers express histories of suffering, persistence, and discovery.

By shifting away from the United States as the focus of both Irish and Caribbean migration—by looking sideways, in a sense—this book deepens the ways in which we think about diasporas and their complicated networks of connection and encounter. Traditional materials such as vampire narratives have been turned to exciting literary use and cultural revision by writers from Caribbean and African backgrounds.

South Asia a Books Few single-author studies came out this year; edited volumes were also scarce, and not all were available for review, while the number of monographs went up. Salman Rushdie again emerged as a figure of concern in all but two books, while, thematically speaking, cosmopolitan connections and the question of Islamic identities, especially as articulated by writers from Pakistan, dominated critical attention.

On Postcolonial Literature as World Literature makes a powerful intervention in current debates on world literature, arguing for the literary text to be seen as an ethico-political force in the world rather than just a commodity whose global trajectory is best understood in terms of existing networks of influence and exchange.

Part of the value of trying to understand world literature as a world-making activity, Cheah contends, lies in the way it clarifies the connections between literature and cosmopolitanism, paving the way for recognition of the salience of literature to the formulation of normative cosmopolitan principles for regulating the operations of institutional players on the global stage and for the study of the associations and networks that are proliferating across the globe p.

The novel, it is argued, is predicated on the hope that global recognition of the threat facing the subalterns of the Sundarbans from the combined forces of an international interest in world heritage preservation, environmental and ecological move- ments, global capitalist interests, and economic development, will give the ordinary people of the Sundarbans a voice that in turn will enable them to renew their world.

Regardless of its literary complexity, however, he argues that the novel subscribes to a rather simplistic view of translation as the perfect transference of meaning between minds and cultures, rendering them completely transpar- ent to each other. While the novel strives to read the blankness that lies at the heart of its narrative—the lost diary and the storm that leads to its loss—as something meaningfully destined by divine forces, Cheah contends that they are both completely devoid of meaning: there is no reason for the storm to take place.

The storm, in other words, becomes the very condition of possibility for the novel to emerge. The important point, as Cheah warns, is not that translation or mediation has the potential to distort meaning but that the possibility of distortion is structural to the creation of meaning because the unity that constitutes meaningfulness is finally impossible to explain. The book comprises individual studies on their gesture and oeuvre to show how all five artists strive to create a space for politics within their work at the same time as they attempt to speak to the political context in which this work is produced.

While the book attempts to initiate an important debate on the meaning and function of contemporary art, it perhaps ends up sounding too much in awe of its subject, preventing the kind of critical engagement that would do it full justice. Arundhati Roy is also a subject of Kelly A. Why the novel offers incestuous sex as the only means for the twins, Estha and Rahel, to reach out to each other, and why readers are left with this image without any indication of its aftermath, are questions that cannot be answered without reference to the submerged plot.

These contradictory views of the multitude are further complicated by glimpses of minor collectives that exist on the fringes of the primary stereotype, undermining its stability over time. A critical engagement with stereotypes also underwrites the concerns and preoccupations of a series of books focused on the question of Islamic identity published in the year under review.

And were the Muslims who opposed them right to have read these texts as offensive? Rather, the task is to establish how Rushdie reworks the material he draws upon and to what purpose p. In a penetrating critique, Mondal charges The Satanic Verses with approach- ing its Islamic material as an Other in a manner reminiscent of medieval Christian and nineteenth-century orientalist discourses. To the extent that The Enchantress of Florence [] gives greater credit to non-spiritual forms of enchantment, it may be seen as an altogether more philosophical work than Shalimar the Clown [].

Ultimately, however, both novels seem unable to engage seriously with feelings of affiliation and affinity that are experienced from within the spaces of religious faith. Although Aslam appears to invite readers to consider how greater access to the secular, expressive, and faith-inflected arts—particularly local ones—could have helped troubled Muslims get back in touch with their humanity, his fiction finally shows these efforts to have failed to achieve their aim.

Thus the attempts of characters like Marcus and Dunia to refine Casa using Sufi practices and Buddhist artefacts are shown to fail to make any impression on the unmovable Islamic subject p. Kanwal is particularly interested in the ways in which three second-generation writers, Kamila Shamsie, Nadeem Aslam, and Uzma Aslam Khan, negotiate the identity crises resulting from current antagonisms towards Muslims and Islam, paying special attention to the struggles of Pakistani migrants with hyphenated identities p.

Authorial ignorance is clearly an issue for Kanwal, who holds Aslam to account for a form of ignorance that enables the author to cross the line between a critique of radical Islamists and a critique of Islamic faith. As a figure that traditionally represents communal rather than individual truths, the storyteller emerges defiantly as one who is capable of wearing all narrative masks and assuming all authorial positions: narrator, novelist, author.

This capacity to shape-shift into various figures, all of whom insist on telling stories as opposed to truths , invests the storyteller with the ability to bypass the authority and responsibility for the text that are normally viewed as being synonymous with the author p. The first two chapters of the book lay the theoretical grounds for reconceptualizing the storyteller in contemporary fiction, while the following six chapters explore how the figure of the storyteller makes a reappearance in the work of contemporary writers, including Jim Crace, Mario Vargas Llosa, John Barth, A.

Byatt, J. All three texts juxtapose the grand narratives of science, history, divine history revelation , and religion against little narratives or stories. Khanna adopts a postcolonial approach to examine a series of important themes that figure in the work of the two writers, including the status of the nation, nationalism, diaspora, conflicts over class, race, and ethnicity, and, not least, the meaning of art and the role of the artist in turbulent times.

The city in the work of both Joyce and Rushdie functions importantly, she argues, as a critique of nationalist and neo-nationalist standpoints that valorize certain versions of tradition, the past, and by extension the rural as constituting the essential spirit of the nation p.

Rushdie, she argues, deploys a particular linguistic register almost invariably throughout the landscape of his novels, especially the later ones. A real-life Aurora Zogoiby, for instance, would speak in one register with her servants, in quite another with her family, and in yet another with her socialite crowd. From Hannerz to Harvey, Malreddy wheels in all the big guns of postcolonial and cosmopolitan theory, completely overwhelming the fictional world of Narayan that he purportedly sets out to examine.

Questions of linguistic experimentation and aesthetic innovation form the focus of another two chapters, while the remaining three are given over to elaborating variously on the violence of neoliberalism, the complicity between human rights discourse and the violence it is meant to condemn, and finally the question of caste in relation to the contemporary. Together these essays draw attention to how traditions not only develop but also intersect and interact and gain richness and meaning from contemporaneous trends and transhistorical forms, rather than only as revisions of their own past.

The three novels discussed by Carbajal, namely E. The bond between the two men, however, is finally undone by the pressures brought to bear upon it by the claims of the community, and their friendship is deferred until the end of the colonial subjugation of India. In English studies focused on Indian and Sri Lankan literatures in international journals the preoccupying issues were the uneasy relations between democracy and resistance, the failures of neoliberalism, the multiple negotiations of gender, the poetics of urban spaces, the role and relevancy of aesthetics, speculative fiction, and a renewed interest in literary cultures.

As well, respectful and fond tributes were recorded in memory of two eminent scholars in the field who died in , Stuart Hall and Chelva Kanaganayakam. She locates her argument in the space between the categories of the postcolonial and the transnational, that is, between the Spivakian linking of representation and speech which points to the impossibility of the subaltern speaking due to the irretrievable loss of subject position, and the process of dialogue and solidarity enabled by the transnational.

Roger McNamara directs attention to discussions of the Anglo-Indians, another peripheral community within the Indian postcolonial nation state. Bakshi notes that Selvadurai transfigures the overtly masculinist discourse that has come to be accepted in the genre of the school story, and infuses his narrative with the concerns of not just ethnic marginalization but sexual minoritization as well.

These concerns about gender were taken up through rich textual readings in numerous journals. The city and the idea of urbanity were decidedly of concern to literary scholarship in Interventions devoted a special issue to the idea of the postcolonial city—the taking apart, refashioning, and perpetuation of colo- nialism in urban spaces across the world.

Postcolonial Text devotes a special issue to the memory of the esteemed Tamil Canadian author, academic, and translator. Following the formu- lation suggested by Kanaganayakam, Kailasam thinks through the ways in which the literary history of Sri Lankan Tamil literature created out of the civil conflict may be illuminated by literary form.

In their introduction to the speculative, fiction-focused issue of Sanglap, Sourit Bhattacharya and Arka Chattopadhyay home in on the conjectural aspects of speculation in fiction, an area of scholarship within English studies that is gaining currency Sanglap 2:i[] 1— Orsini meticulously maps the trajectory of this project in relation to an early twentieth-century religious-devotional north Indian public.

In a nuanced reading of O. Nambiar examines nomadic consciousness as a way in which resistance may take place, in both the political as well as the literary sense, in the work of Vijayan. New Zealand and Pacific There were fewer works in New Zealand and Pacific studies in than in previous years, although critics have covered a wider range of modern and contemporary writers in their articles.

The discussion tends towards summary and description over analysis, but there are insights stacked in the essay for its careful readers. Other contributions for this year have been more uneven. Continuing biographical approaches of earlier critical periods, Annette M. There have been two great waves of Katherine Mansfield textual scholarship. Plumridge and Edinburgh have done scholars in New Zealand literary studies a great service with this fine new edition.

Plumridge provides thorough general-contextual pp. Gordon, and Margaret Scott. After all this, the Notebook itself pp. After years of condescension and neglect, Mansfield is now seen—as evidenced by the frequent scholarly publications on her work, the existence of the Mansfield Yearbook and Society, and the presence of her work in discussions of others writers—as a significant figure in global anglophone modernism. This section provides details on criticism with a specifically New Zealand application.

The results are satisfyingly provocative. Three chapters in particular stand out. Writing becomes, in new ways, an ancestral house of its own. Impatient with the classificatory divisions of Eurocentric aesthetic theory, Huihui illustrates its own claims by including poetry, fiction, and creative writing, from Albert Wendt, Michael Puleloa, and Steven Winduo among others, as well as these literary-critical chapters.

Tracing his revisions, then, tells us much, and not only about his own aesthetics. The varied offerings around nineteenth-century and colonial literatures reinforce my sense from previous years that this remains the site of the most adventurous scholarship in New Zealand literary studies. Eileen Duggan, despite never leaving New Zealand, enjoyed a decades- long and very successful literary career.

What might this tell us, Bones wonders, about some of the myths of cultural nationalism about the colonial period? The centenary years of the First World War continue their lumbering roll, publishing programmes, books, and features spilling from each one along the way. The results, for literary studies, have so far been disappointing. Poetry is not a competition.

Rediscovering Lea and Clark as British migrants writing comfortably in a range of registers, including Scots and Cockney, adds nuance to our accounts of twentieth-century literature produced in New Zealand. Ricketts, although he does not pursue these arguments himself, sets up further readings to come. This gives his work a refreshingly formalist focus but also, perhaps, drains it of some critical-contextual juices.

Religious thought has long been important to New Zealand literature, from James K. She then, in collaboration with Hotere, interspersed these fragments with lines from the biblical Song of Songs. Osborne provides a thorough account of the visual work and of the process of composition, and then details the ways in which the Song of Songs has been deployed by poet and painter.

Finally, two book-length single-author surveys will provide useful resources for scholars, particularly those based outside New Zealand, seeking informa- tion about sources and publications in drama. Poet and academic Dennis Haskell blends both personal and scholarly perspectives in his account of the difficulties and the promises of spearheading the ongoing creation of an anthology of Southeast Asian writing, a project that was started in and has seen several editors and contributors come and go.

Yet Haskell also observes the common ties that bind the different countries in the region, together with Australia, where Haskell is based. Haskell also observes the difficulty of recruiting editors to write introductions for and find primary materials from particular national literatures such as that of Laos and Brunei, and the challenges of translating poetry and fiction from their original languages into English when no qualified translators are available.

However, Haskell remains optimistic that the anthology will highlight certain common concerns among Southeast Asian writers, such as the vexed relationship between literature and sociopolitical authority and the difficulties of maintaining a sense of tradition and history in the face of a rapidly modernizing present.

Devadas begins by tracing the productive connections between postcolonial critique and Southeast Asian literary criticism from the s to the present day, presenting an overview of several scholarly texts as well as creative works in different languages that are informed or inspired by postcolonial thinking.

Nonetheless, I enjoyed it. It got me reading from start to finish, while my mind whirled, thinking about the possibilities, gu My problem with this book is that the story is dragged for almost too long, that when I finally reached the end and read about the killer, I went like I definitely did not see that coming but Thumbs up. Itulah nasihat hatiku tiap kali usai membaca. Unik kerana…RAM sangat rajin buat homework dalam setiap buah tangannya. Buktinya, beberapa info mengenai perubatan, psikologi, perundangan, kepolisan dilihat sangat berkesan.

Itu belum lagi melihat kepada plot dan jalan cerita, perkembangan watak dan transisi peristiwa. Bahkan Fiksyen lebih santai, lebih munasabah dan diterima dek akal. Subjek tak perlu naik kereta berkelajuan tinggi untuk pergi ke masa silam dan pulang ke masa hadapan seperti di dalam cereka, sekadar menekan bulatan di tapak tangan yang dilukis menggunakan marker pen! Hebat bukan? Fiksyen juga tidak terlalu membebankan pembaca dengan plot serta watak yang berbelit-belit.

Sememangnya dendam itu ibarat api membakar sekam, kerana dendam itu terus membara biar telah berlalu sekian lama, biar musuh telah menerima balasan dan dendam juga memusuhi kebenaran. Sesungguhnya watak pembantu juga berperan menjadikan sesuatu cereka itu lebih berjaya.

Penggunaan bahasa yang mudah juga menjadikan kita tidak hilang fokus, sesuai dengan tema thriller Adalah menjadi harapan saya agar novel ini diangkat menjadi satu filem suatu hari nanti. Iyelah, daripada asyik mengangkat tema cinta yang semakin meleret-leret ke layar perak tempatan, apa kata kita cipta pula tema thriller.

Eh, Fiksyen pun tak kalah tau dengan idea luar…kerana RAM sememangnya raja dalam wilayahnya. Download links for: Fiksyen Advertising. Online stores:. Copy in the library:. Reviews see all ilafarge. Other books by Fantasy.

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