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Un-Australian Fictions sets out to analyse a subset of Australian literary fictions published between 1988 and 2008 – from the bicentenary of British settlement to the global financial crisis and into a new millennium. During a new transnational era, Australians faced sober and unsettling times. Already accorded the status of national obsession, issues of national identity were vigorously contested. Concepts such as the nation, multiculturalism and globalisation became topics for heated discussion in the public sphere. Australia’s literary communities were not immune or isolated from these ongoing discussions. The “un-Australian fictions” which this book studies represent the challenges which these texts, in their own unique way, bring to the Australian national ethos and the national mythology, which is predicated on traditions such as masculism; a bush ethos; the pre-eminence of white colonial settlement; connectedness to an imaginative European geography; as well as an unbreakable tie to Britain. As un-Australian fictions, these texts reflect the destabilisation of what were once certain, spatial and psychic borders and orders of Australianness. They affect as well as reflect, the wider conversation that continues today about what being Australian means in a new millennium.
From vanishing islands to talking flathead and nightmarish bushfires, Ben Walter's visionary Tasmanian fictions are unique in the landscape of Australian writing. An unemployed man chooses only to apply for jobs advertised in The Economist; a failed mountain expedition is mocked by the dead bodies of past climbers; and a father and son travel urgently to witness the miracle of Lake Pedder emptying. In What Fear Was, Walter combines beautiful, mesmerising writing with surreal discomfort and absurdist hilarity to completely upend the idea of an Australian short story. 'Lyrical and inventive, savage and strange. You've never read anyone like Ben Walter. Total mastery of language and imagery, paired with an unrivalled imagination and immense storytelling chutzpah. The shot in the arm Australian literature has been screaming for.' - Robbie Arnott 'With its unforgettable descriptions of the natural world, and the unsettling things that sometimes take place there, What Fear Was is an extraordinary collection of stories. Deeply strange, beautifully lyrical and intensely moving; no one in Australia writes like Ben Walter. The weird realism of What Fear Was is wholly unique and deeply valuable in contemporary Australian fiction.' - Ryan O'Neill. 'What Fear Was is a darkly funny, surreal and tender collection, wonderfully Tasmanian in its entanglements. You never know where Ben Walter's stories will take you - there are no straight lines here - but it's truly a pleasure to follow his trail.' - Jennifer Mills
Why would a wombat be registered for war? It's 1965, and an old Tattersalls barrel starts rolling marbles to randomly conscript young Australian men to fight in the war in Vietnam. Melbourne housewife Jean McLean is outraged, as are her artist friends Clif and Marlene Pugh, who live in the country with their wombat, Hooper. Determined to wreck the system, Jean forms the Save Our Sons movement's Victorian branch, and she and her supporters take to the streets to protest. Meanwhile, in the small country town of Katunga, Bill Cantwell joins the Australian Army, and in Saigon, young Mai Ho is writing letters to South Vietnamese soldiers from her school desk. And when Hooper's call-up papers arrive, he mysteriously goes underground... As these stories intersect in unexpected ways and destinies entwine, a new world gradually emerges - a world in which bridges of understanding make more sense than war. This stunning graphic novel, full of empathy, courage and resistance, is based on true events. 'Every drawing reflects a Vietnamese history era in which I grew up and witnessed the war. I cannot thank you enough for this memory.' MAI HO 'I wish I had this growing up. It's incredibly informative. Stories like this are severely lacking, and for an Australian audience, I think it will be revelatory.' MATT HUYNH
Christos Tsiolkas is one of the most recognizable and internationally successful literary novelists working in Australia today. He is also one of the country’s most politically engaged writers. These terms – recognition, commercial success, political engagement – suggest a relationship to forms of public discourse that belies the extremely confronting nature of much of Tsiolkas’s fiction and his deliberate attempt to cultivate a literary persona oriented to notions of blasphemy, obscenity and what could broadly be called a pornographic sensibility.
Australia's contribution to Indonesia's independence struggle is broadly well-known and this book explores an important part of the story: Australia's leading role in the 1947 UN Consular Commission and the monitoring of the first UN cease-fire order. The commission's military observers were pioneer peacekeepers, and an examination of the commission's activities is useful for understanding the Indonesian independence struggle in the following years. Australia's involvement also played a positive role in long-term Australian-Indonesian relations.
Australian crime fiction has grown from the country's origins as an 18th-century English prison colony. Early stories focused on escaped convicts becoming heroic bush rangers, or how the system mistreated those who were wrongfully convicted. Later came thrillers about wealthy free settlers and lawless gold-seekers, and urban crime fiction, including Fergus Hume's 1887 international best-seller The Mystery of a Hansom Cab, set in Melbourne. The 1980s saw a surge of private-eye thrillers, popular in a society skeptical of police. Twenty-first century authors have focused on policemen--and increasingly policewomen--and finally indigenous crime narratives. The author explores in detail this rich but little known national subgenre.
Colonial domestic literature has been largely overlooked and is due for a reassessment. This essay collection explores attitudes to colonialism, imperialism and race, as well as important developments in girlhood and the concept of the New Woman.
This is the first sustained study of the formal particularities of works by Bruce Pascoe, Kim Scott, Tara June Winch, and Alexis Wright. Drawing on a rich theoretical framework that includes approaches to relationality by Aboriginal thinkers, Edouard Glissant, and Jean-Luc Nancy, and recent work in New Formalism and narrative theory, the book illustrates how they use a broad range of narrative techniques to mediate, negotiate, and temporarily create networks of relations that interlink all elements of the universe. Through this focus on relationality, Aboriginal writing gains both local and global significance. Locally, these narratives assert Indigenous sovereignty by staging an unbroken interrelatedness of people and their land. Globally, they intervene into current discourses about humanity’s relationship with the natural environment, urging readers to acknowledge our interrelatedness with and dependence on the land that sustains us.
The Cambridge Companion to the Australian Novel provides a clear, lively, and accessible account of the novel in Australia. The chapters of this book survey significant issues and developments in the Australian novel, offer historical and conceptual frameworks, and provide vivid and original examples of what reading an Australian novel looks like in practice. The book begins with novels by literary visitors to Australia and concludes with those by refugees. In between, the reader encounters the Australian novel in its splendid contradictoriness, from nineteenth-century settler fiction by women writers through to literary images of the Anthropocene, from sexuality in the novels of Patrick White to Waanyi writer Alexis Wright's call for a sovereign First Nations literature. This book is an invitation to students, instructors, and researchers alike to expand and broaden their knowledge of the complex histories and vital present of the Australian novel.