Sexual abuse in 'Disgrace' and 'Cereus Blooms at Night': the case for hope

Abuse is rife in Disgrace by J.M. Coetzee and Cereus Blooms at Night by Shani Mootoo. Sexual violence is in both narratives, part of their richly textured social, emotional and political worlds. Fiction involving various traumas seems bleak, almost hopeless, perhaps weighted by sadness. Yet both these novels, even through depictions of rupturing, disruptive rape, trigger a recognition of possibility and potential among characters and perhaps readers. It is in this open ended potential for betterment of some kind that hope lies. What is the nature of hope and to what extent is it present in these novels? In this paper, I explore the emotion of hope in relation to the notion of becoming as elaborated on by Gilles Deleuze and Felix Guattari particularly in A Thousand Plateaus. They expound on Remy Chauvin‟s term “aparallel evolution” in relation to becoming (Deleuze and Guattari, 11). Deleuze also states that becoming is not a “phenomena of imitation or assimilation”. Rather, it is an encounter, “a double capture” (Deleuze and Parnet 2) between heterogeneous elements. There is no end or destination in becoming; it is constant change. I examine the transformative potential of becoming to elicit signs of hope in these novels. David Lurie, the self-absorbed womaniser and arguably rapist, becomes-dog by the end of Disgrace. How does this contribute to any sense of redemption and consequently hope? And how does hope emanate from the beaten, broken, brutally raped Mala Ramchandin in Cereus Blooms at Night? At heart, this paper is an acknowledgment of the unique relation literature has with life and the enriching insight that it may provide into the expression of hope.

Girls' school stories, 1749-1929

As part of the ongoing project of retrieving women writers from the margins of literary and cultural history, scholars of literature, history, and gender studies are increasingly exploring and interrogating girls’ print culture. School stories, in particular, are generating substantial scholarly interest because of their centrality to the history of girls’ reading, their engagement with cultural ideas about the education and socialization of girls, and their enduring popularity with book collectors. However, while serious scholars have begun to document the vast corpus of English-language girls’ school stories, few scholarly editions or facsimile editions of these novels and short stories are readily available.

The complete fool: Insights and trajectories from an ancient path

This study presents a novel and accompanying exegesis which explore the fool behind the Fool by stripping away his usual costume and arenas of power and folly to expose an essence – an impulse of potentiality – that helps explain the Fool’s perpetuity and argues his critical significance as a catalyst for creative thinking.

‘I am content with Canada’: Canadian girls at the turn of the twentieth century

This essay focuses on British girls' periodicals and novels published around the turn of the twentieth century that generate an imagined picture of Canadian girlhood; I also begin to contrast these representations with those produced and published in Canada.

China in a book: Victorian representations of the 'celestial kingdom' in William Dalton’s 'The wolf boy of China'

Despite the wealth of material related to China in Victorian and Edwardian children’s literature, relatively few scholarly works have been published on the subject. Critics who have discussed the topic have tended to emphasize the negative discourse and stereotypical images of the Chinese in late nineteenth-century children’s literature. I use the case of William Dalton’s The Wolf Boy of China (1857), one of the earliest full-length Victorian children’s novels set in China, to complicate previous generalizations about negative representations of China and the Chinese and to highlight the unpredictable nature of child readers’ reactions to a text. First, in order to trace the complicated process of how information about the country was disseminated, edited, framed, and translated before reaching Victorian and Edwardian readers, I analyse how Dalton wove fragments from his reading of a large archive of texts on China into his novel.
Although Dalton may have preserved and transmitted some ‘factual’ information about China from his sources, he also transformed material that he read in innovative ways. These are reflected in the more subversive and radical parts of the novel, which are discussed in the second part of the essay. In the final section, I provide examples of historical readers of The Wolf Boy of China to challenge the notion that children passively accept the imperialist messages in books of empire.

The ‘Australian Girl’ and the domestic ideal in colonial women’s fiction

The vast majority of novels and periodicals read by colonial Australian girls were written and published in Britain. ‘Daughters of the Southern Cross’ were more likely to have access to the Girl’s Own Paper by subscription or to imported fictions that had proven popular with British girl readers than any locally produced depictions of girlhood. From the 1880s, however, Australian authors produced several milestone fictions of girlhood for both adult and juvenile audiences. Rosa Praed's An Australian Heroine (1880) and Catherine Martin’s An Australian Girl (1890)  gave voice to the lived experience of Australia for young women, and their publication in Britain contributed to an emergent reciprocal transpacific flow of literary culture.

Two canonical Australian novels that focus on the maturation of girl protagonists who live on bush homesteads were also published in this period. Ethel Turner’s Seven Little Australians (1894) and Miles Franklin’s My Brilliant Career (1901) feature intelligent girls who are not able to be effectively socialised to embrace domesticity. Turner’s Judy Woolcot is distinct among her six siblings as a plucky girl who instigates trouble, while Franklin’s aspiring writer Sybylla Melvyn is informed that ‘girls are the helplessest, uselessest, troublesomest little creatures in the world.’

The 1890s saw an agricultural depression in Australia that only fuelled the urban perpet-uation of the idealised and nationalistic bushman myth in literary and popular culture. The ubiquity of the myth problematised any attempt to situate women heroically within the nation outside of the home. British fictional imaginings of Australian girls lauded their lack of conformity and physical abilities and often showed them bravely defending the family property with firearms. In contrast, Australian domestic fiction, this chapter argues, is unable to accommodate bracing female heroism, postulating ambiguous outcomes at best for heroines who deviate from the feminine ideal.

Judy’s grandmother describes her ‘restless fire’ as something that ‘would either make a noble, daring, brilliant woman of her’, or ‘would flame up higher and higher and consume her’. Turner does not allow Judy’s unconventionality to prosper. Instead, she is killed by a falling gum tree while saving the life of her brother, leaving the future fulfilment of the domestic ideal to her sister, Meg, whose subsequent story occupies Little Mother Meg (1902). Franklin’s Sybylla expresses her inability to be content with the simple pleasures of keeping a home, and this informs her decision to reject a marriage proposal from a wealthy suitor. The novel’s indeterminate conclusion does not allow fulfilment of Sybylla’s writing aspirations, situating her outside the feminine ideal yet not affirming the merits of her desire to reject married life.

While Sharyn Pearce suggests that Judy’s tragic end follows a narrative pattern that sup-ports the glorification of male heroes and renders ‘over-reaching women’ as ‘noble failures’, the novel might also productively be read within the context of other fictions featuring girl protagonists of the period, such as Praed and Martin's novels. This chapter makes the case that Turner and Franklin’s thwarted heroines critique the containment of Australian girls to the banalities of the home by exposing the negative and uncertain outcomes for those who desire the freedoms and aspirations permitted to boys and men. Unlike British fictions that champion adventurous girls, these Australian fictions critique the continuation of gendered restrictions in the colonies by proposing that girls who desire excitement and independence ‘should have been…boy[s]’ (as Sybylla’s mother remarks).

Seriality and persona

 Persona is a public presentation of identity. One of the key values of a persona is its consistency in its presentation of the self. This article is designed to be the first exploratory steps and overview in charting the idea of seriality in relation to persona and its utility as a concept to describe the constancy and transformation of identity that is now elemental to understanding contemporary persona or the public presentation of the self and its online manifestations. Seriality in terms of persona is first investigated from its entertainment culture origins – with its use in the constitution of characters in fiction in novels, films, games and most prevalently in television. Several examples of serial persona will be analysed with an emphasis on how television has constructed often the most powerful personas: Kevin Spacey’s persona as Frank Underwood in House of Cards is discussed in greater detail in terms of the economic, cultural and affective value of serial persona and its associated formations of risk. It then explores the blending of the fictional and the real in seriality through how popular music performers – in particular Eminem - construct an authentic register of persona to allow for the exploration of the self through emotion and connection. The article concludes with thinking how seriality is connected to the constitutions of online identity and links the concept with aspects of virality and meme culture and their constructions of value, patterns and constancy as it relate to the presentation of the public self.

Education and work in service of the nation: Canadian and Australian girls' fiction, 1908-1921

This chapter compares early twentieth-century Australian novels by Ethel Turner, Mary Grant Bruce, and Lilian Turner to Canadian novels by Nellie McClung and L.M. Montgomery to demonstrate important differences in attitudes towards education and work. Girls’ fiction in these white settler colonies has many similarities, containing strong ideals related to domesticity, education, employment, and femininity. In the Canadian fiction, attitudes towards women’s higher education and employement are generally much more positive. Although both Australian and Canadian girls’ fiction typically conclude with marriage, Montgomery’s Anne of Green Gables and Nellie McClung’s Pearlie Watson are offered the opportunity to pursue higher education and use this education to teach others. In contrast, Lilian Turner’s Paradise and the Perrys, Ethel Turner’s Fair Ines, and Mary Grant Bruce’s ’Possum emphasise the importance of domesticity while also showing how girls sought to earn income without leaving home. Through our comparison of these Canadian and Australian novels, all published between 1908 and 1921, we demonstrate how the different feminine ideals embodied through these heroines are inevitably intertwined with the needs of the nation

Love, politics, time

Featuring the musical compositional techniques of phase, repetition and pulse, with the sounds of New York recorded from a 16th floor hotel window, this sonic poem is a plea for the intimately spoken word. As cockatoos rise in the white siren sky, two lovers confront love and time in a halting conversation inside a placeless shelter.
This performance work is a poetic and musical experimentation with ideas from the philosopher Alain Badiou. The intersection of political and amorous truth procedures thought to form the subject matter of many novels is extended upon by presenting such an intersection via the crossing of genres of music, sound art, poetry, prose and theatre. This collaborative venture forms a continuing experiment with the idea that music does not simply form a corollary with words and their representation in sound, but rather explores ways in which music can form an antagonistic relationship to the spoken word.
'Conversation in an air raid shelter' was originally presented as a live performance at Double Dialogues Conference: 'The 21st century - The Event, The Subject, The Artwork', Fiji, 2012 and the audio recording appears in Double Dialogues Issue 16, Spring 2013 with an accompanying discursive article 'Love, Politics, Time'. It is available on CD and Youtube. It was also performed at the Torquay Literary Festival in 2013. A discussion of its process by Josephine Scicluna features on a video currently in production by Deakin University for a new unit on creativity in the Bachelor of Arts program.

Re-encountering Christina Stead : Why read ‘Workshop in the novel’?

Despite waves of interest in the work of Christina Stead, one aspect of her writing life has been largely neglected. From September 1943, she taught three series of extended writing workshops in New York and in the process left more than three hundred pages documenting her teaching. The question motivating this paper is: Why should we, as writers and teachers of writing, read her writing workshop notebooks nowadays? This paper will place Stead’s workshop in the context of the development of institutional teaching of novel writing and her emergence as a major writer. It will briefly examine how the notebooks have previously been understood and offer a closer analysis than has been made to date of the notebooks and their content and of the key issues raised by them. In particular, we shall explore her pedagogic focus upon workshop participants developing a rigorous, analytical approach to crafting novels and her extensive use of Georges Polti’s Thirty-Six Dramatic Situations to achieve this. That, in turn, will enable us to assess what the notebooks independently reveal about her beliefs regarding the novel and its purpose.

Nasdijj's fake magical realist memoir: re-visioning magical realism's relationship with fakery

Examining what might be described as Nasdijj’s "fake magical realist memoir" The Blood Runs Like a River Through My Dreams, this paper is interested in how Nasdijj's text might be useful in contesting our understanding of the postcolonial literature of magical realism. Drawing attention to Nasdijj’s utilization of the “primitivist” conventions of magical realism, this paper will illustrate how fakery might be seen as essential not only to Nasdijj's text but also to magical realism. In fact, this paper argues that magical realist novels might be productively read as hoaxes, mobilizing what Graham Huggan describes as the "postcolonial exotic" in order to engage in a subversive act of “culture jamming”. The objective of the analysis is not to condemn magical realism along with Nasdijj’s opportunistic memoir, but rather to rescue magical realism from ideas about authenticity, celebrating its ironies and its challenges to colonial discourses of identity and history.

Introduction : democracy and history

The notion that democracy could have a ‘secret’ history might at first seem strange to many readers. Indeed, the history of democracy has become so standardized, is so familiar and appears to be so complete that it is hard to believe that it could hold any secrets whatsoever. The ancient Greek practice of demokratia and the functions of the Roman Republic are foundational to Western understanding of politics; school textbooks introduce the Magna Carta and the rise of the English Parliament; Hollywood blockbusters recount the events surrounding the American Declaration of Independence; many best-selling novels have been written about the French Revolution; and the gradual global spread of the Western model of democracy has been a recurrent news story since the end of the Cold War. So pervasive is this traditional story of democracy that it has achieved the status of received wisdom: endlessly recycled without criticism by policy-makers, academics, in the popular media and in classrooms across the world.

Game of Tropes: the Orientalist tradition in the Works of G.R.R. Martin

George R.R. Martin's A Song of Ice and Fire novels (and their television adaption, Game of Thrones) have become arguably the most well known fantasy epic of the last decade. However, the world of A Song of Ice and Fire conforms to many of the same Orientalist tropes that have dominated Western literature since the popularisation of the 'Arabian fantasy' in the 18th and 19th centuries and its subsequent perpetuation in film and television. Derivative imaginings of the real world Middle East are commonly reflected in non-Earthly fantasy worlds and Martin's work incorporates this standard vision of the Eastern Other. Owing to its popularity, the A Song of Ice and Fire series represents a significant reinforcement of Orientalist stereotypes and proves that fantasy locations have significant power to cement these ideas in the popular imagination. Moreover, the negative portyal of the East in these works supports Said's argument that the Orient is an invention of the West, and that our depiction of the Other is a means of framing our own cultural superiority.

The other Kureishi: a psychoanalytic reading of something to tell you

Hanif Kureishi: Contemporary Critical Perspectives brings together leading scholars of contemporary British fiction and culture to reassess the full range of the author's writings, from novels such as The Black Album, My Son the Fanatic and Something to Tell You to films such as Sammy and Rosie Get Laid, My Son the Fanatic and Venus. As well as exploring Kureishi's handling of such themes as Thatcherism, terrorism, race, class and sexuality, the book move moves beyond sociological and psychoanalytical approaches, examining the stylistic features of his most recent novel, The Last Word. The volume includes interviews with Stephen Frears, the director of My Beautiful Launderette, and with Hanif Kureishi himself, as well as a foreword by Roger Michell, who has directed several of the author's screenplays, most recently Le Week-End.