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This collection of essays explores the literature of Italian immigrants in Canada and their children by focusing on the central role that themes of migration hold in their work. Addressing topics such as the oral roots of Canadian immigrant writing, the changing place of women in works of the Italian diaspora, and the persistent difficulties of translation, this work provides an international perspective on some of the most pressing questions in the study of literature today. In addition to Canadian works, the work of immigrant writers from Australia and other countries is also considered, producing nuanced observations of cultural differences and affinities.
The story of Odysseus, an Olympian god. Homeric hero and Greek migrant who is mystically as old as Australia where he migrated and in whose history he participated.
Travel writing, it has been said, helped produce the rest of the world for a Western audience. Could the same be said more recently of postcolonial writing? In The Postcolonial Exotic, Graham Huggan examines some of the processes by which value is attributed to postcolonial works within their cultural field. Using varied methods of analysis, Huggan discusses both the exoticist discourses that run through postcolonial studies, and the means by which postcolonial products are marketed and domesticated for Western consumption. Global in scope, the book takes in everything from: * the latest 'Indo-chic' to the history of the Heinemann African Writers series * from the celebrity stakes of the Booker Prize to those of the US academic star-system *from Canadian multicultural anthologies to Australian 'tourist novels'. This timely and challenging volume points to the urgent need for a more carefully grounded understanding of the processes of production, dissemination and consumption that have surrounded the rapid development of the postcolonial field.
Mongrel Signatures reviews the Australian writer Mudrooroo's career and deals with central issues of identity, authenticity and truth. After 1996, academics and writers in Australia and around the world endorsed or denied Mudrooroo's Aboriginality after research had dramatically called his Indigenous identity into question. There has also been a long silence among fans of Mudrooroo, who has not commented publicly on his racial belonging. These challenging and lively “reflections” by European and Australian scholars and writers are not meant to discuss whether Mudrooroo can legitimately sign his works with an Aboriginal name (an essentialist and problematic view of identity and authentici...
Up until the late 1960s the story of Australian literary magazines was one of continuing struggle against the odds, and of the efforts of individuals, such as Clem Christesen, Stephen Murray-Smith, and Max Harris. During that time, the magazines played the role of 'enfant terrible', creating a space where unpopular opinions and writers were allowed a voice. The magazines have very often been ahead of their time and some of the agendas they have pursued have become 'central' to representations, where once they were marginal. Broadly, 'little' magazines have often been more influential than their small circulations would first indicate, and the author's argument is that they have played a valuable role in the promotion of Australian literature.
Since Archie Weller was runner-up for the first Vogel Award in 1980 for his novel The Day of the Dog, he has become an important voice in contemporary Indigenous writing. The Window Seat is a collection of his best fiction and a tribute to his contribution to Australian literature. These stories are honest, brutal and moving. In 'The Window Seat', we witness an old woman's final journey home through the eyes of the disgruntled white traveller who sits beside her; in 'Stolen Car', a young Aboriginal man learns his first lesson in rough justice; and in 'Dead Dingo', we see another rallying against what his friends, life and fate offer him. Together these powerful stories present a rich and rewarding reading experience.
There were very few land burials in Moon Beach. It was considered old-fashioned, unhealthy and something that only happened to the poor. Instead the dead were buried in ocean cemeteries, twelve miles out. A special festival was held every year in their honour. Children loved it. They were given white chocolate bones, marzipan skulls and ice-cream coffins on a stick. There were costume parties too. You had to wear something blue because that was the colour people went when they were buried under the sea. You could paint your hands and face if you liked, or even dye your hair. That's what people did in Moon Beach. Turned blue once a year. And then they turned blue forever...
"By the Book is an indispensable history of the literature of Queensland from its establishment as a separate colony in the mid-nineteenth century through major economic, political and cultural transformations to the beginning of the twenty-first century. Queensland figures in the Australian imagination as a frontier, a place of wild landscapes and wilder politics, but also as Australia's playground, a soft tourist paradise of warm weather and golden beaches. Based partly on real historical divergences from the rest of Australia, these contradictory images have been questioned and scrutini.
‘Post-Multicultural Writers as Neo-Cosmopolitan Mediators’ is the first book to bring together global debates in neo-cosmopolitanism over the last decade and Australian minority writers, linking them to globalisation and transnationalism in cultural studies.
" ... Documents the history and development of [Post-colonial literatures in English, together with English and American literature] and includes original research relating to the literatures of some 50 countries and territories. In more than 1,600 entries written by more than 600 internationally recognized scholars, it explores the effect of the colonial and post-colonial experience on literatures in English worldwide.