Transformations : landscape in recent Australian fiction / Gillian Mary Tyas

Focusing on novels written since 1980 by Australian authors Rodney Hall, Liam Davison, Tim Winton, Elizabeth Jolley and Gerald Murnane, and engaging with responses to the land by visual and performing artists, this thesis explores the idea that the writer and artist are mediators in the multitude of experiences that constitutes landscape.

Fiction in oils

Comprises a collection of seventeen stories based on Australian women's paintings and a critical exegesis that together represent a creative and theoretical response to the ways in which short fiction writing can be informed by visual art.

Post-disaster fiction for young adults : some trends and variations

In the forty years or so since it began to develop as a sub-genre of young adult fiction, post-disaster fiction has commented on a range of issues, including perceived social fears of the time, the nature of various types of society, and what people need in order to be truly human. This paper explores how young adult post-disaster fiction makes comment on these and other issues. It argues that within this genre there are three connected sub-genres, with the disaster having a different function in each, and the nature of the comments made by each of these sub-genres tending also to be different. As its title suggests, this paper includes texts in which the focus is on life after the disaster. The genre’s strong link with both the nature of young adult fiction and with adolescence itself suggests that it will continue to flourish as a sub-genre.

Re-framing the riot : journalism, creative non-fiction and telling the story of Australia's black history

On 19 November 2004, an Aboriginal man was arrested on Palm Island, off the coast of Townsville in northern Queensland. He was taken to the local watch house on a drunk and disorderly charge. An hour later, he lay dead on a cell floor. His liver, an autopsy showed, had been split in half and his spleen ruptured. But when that autopsy report also found that Mulrunji Doomadgee’s severe injuries were not caused by force, the Palm Island Indigenous community, enraged and grief-stricken, went looking for payback.

The Palm Island “riots” ensured that this Aboriginal death in custody made international news headlines where others barely got a mention, if at all (Hollinsworth, 2005). The ensuing Coronial Inquest and criminal prosecution of the arresting Queensland police officer, Chris Hurley, also were covered consistently by the news media. Senior Sergeant Hurley has, however, so far escaped punishment and the Queensland media’s most recent report of the case was to tell how the Qld Police Union now funds a legal bid to clear his name. Meanwhile, little is heard in the news media of the Doomadgee family, the Palm Island community, or of other deaths in custody occurring steadily through the 18 years since the Royal Commission that was supposed to implement a raft of preventative recommendations.

While the news media’s framing of these issues has most often followed historically predictable and ultimately racist lines, a work of creative non-fiction tells the story with warranted complexity and power. Chloe Hooper’s The Tall Man: Death and Life on Palm Island documents Cameron Doomadgee’s death, the riots, and the ensuing legal farce from the front row. Hooper, in the tradition of Truman Capote, arrived at Palm Island as a white writer from a big city. But by “walking the talk” – being with the Doomadgee family and their community through the hearings and after, Hooper was given extraordinary access to community, history, and significant cultural nuance barely identified by, let alone understood by, non-Indigenous readers.

By focussing on Hooper’s experience with sources and court reporting, compared with some print media coverage, this paper will consider the comparative roles of journalism and creative non-fiction in re-framing the Palm Island “riot”. It will suggest that Hooper’s work subverts some dominant (and racist) news media representations of Australian Indigenous peoples through its use of source relationships in an extended narrative structure.

‘Coded in a code of the world' : minor literature and the time-image hidden in Janet Frame’s late fiction?

This article seeks to demonstrate how Janet Frame’s late fiction can be read as a theoretical engagement with the conceptual investigations of Gilles Deleuze and Félix Guattari, especially the notions of minor literature and the in her late novels Living in the Maniototo (1981) and The Carpathians (1989). For this reason, my approach must be sharply distinguished from a more commonplace analogical framing of Frame or a simple one-to-one translation of her fiction into alternative terms. By weaving theory through her fiction, Frame makes a significant contribution to literature that responds to the still-emerging field of Deleuzean literary critical theory.

Popular fiction and the emotional turn : the case of women in late Victorian Britain

Many within the history profession today consider that we are experiencing an ‘emotional turn’, a perception that has been spurred by a recent proliferation of research centres and outpouring of publications exploring the concept of emotion. Interest in this field looks likely to grow, although there are methodological challenges that have yet to be overcome, as, of course, there are with any newly emerging field of study. One main concern is source material. Attempting to access such an elusive and intensely subjective area of historical inquiry as emotions requires seeking out new sources, as well as returning to old ones with a fresh eye, with new questions in mind. In the specific realm of the emotional lives of women living in Victorian and Edwardian Britain, fiction proves a promising source – popular fiction especially. This is due to the fact that this was the era that ushered in the modern bestseller, novels that more often than not explored the everyday and the emotional, novels that were thought to have been ‘devoured’ by women in particular. This essay plots recent developments in the burgeoning area of emotions history, as well as those that have taken place in relation to the use of fiction as evidence in a history of women’s interior lives. It argues that, at this point in the development of emotions history, when questions of methodology, interdisciplinarity and sources are being addressed more widely, consideration should be given to popular fiction as a readily available pathway, if not an uncomplicated one, into the emotions of the past.