Distant Context, Local Colour: Australian 'post September 11' Fiction

Research output: Contribution to journalArticle

Abstract

Australian fiction is, arguably, as diverse as the fiction of any other culture or era. But in a globalised world, though the stories we tell may remain inflected by the local context, they will necessarily be informed by transnational relations and geopolitical events. Like writers in the USA, UK, Afghanistan and elsewhere, some Australian novelists have taken arms against a sea of troubles, and produced work that directly and consciously engages that new genre, the post September 11 novel. Only a small number of Australian novels have been published in this genre – perhaps inevitably, given our distance from the scene – and they can be read as relying on the familiar features of the thriller, the detective, or the citygrrl genres that readers find attractive. However, I will suggest that they do more than this. In a reading of Andrew McGahan’s Underground, and Richard Flanagan’s The Unknown Terrorist, I will discuss the ways in which a very local ‘accent’ is coloured by broader forces, and what contributions we can offer, here at the foot of the world, to the ongoing conflicts and human rights abuses in the hemisphere above us.
Original languageEnglish
Pages (from-to)1-14
Number of pages14
JournalJournal of the Association for the Study of Australian Literature
Volume2010
Publication statusPublished - 2010

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Local Colour
Fiction
Detectives
Novel
Reader
Human Rights
Abuse
Novelist
Terrorist
Accent
Writer
Hemisphere
Afghanistan

Cite this

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abstract = "Australian fiction is, arguably, as diverse as the fiction of any other culture or era. But in a globalised world, though the stories we tell may remain inflected by the local context, they will necessarily be informed by transnational relations and geopolitical events. Like writers in the USA, UK, Afghanistan and elsewhere, some Australian novelists have taken arms against a sea of troubles, and produced work that directly and consciously engages that new genre, the post September 11 novel. Only a small number of Australian novels have been published in this genre – perhaps inevitably, given our distance from the scene – and they can be read as relying on the familiar features of the thriller, the detective, or the citygrrl genres that readers find attractive. However, I will suggest that they do more than this. In a reading of Andrew McGahan’s Underground, and Richard Flanagan’s The Unknown Terrorist, I will discuss the ways in which a very local ‘accent’ is coloured by broader forces, and what contributions we can offer, here at the foot of the world, to the ongoing conflicts and human rights abuses in the hemisphere above us.",
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AB - Australian fiction is, arguably, as diverse as the fiction of any other culture or era. But in a globalised world, though the stories we tell may remain inflected by the local context, they will necessarily be informed by transnational relations and geopolitical events. Like writers in the USA, UK, Afghanistan and elsewhere, some Australian novelists have taken arms against a sea of troubles, and produced work that directly and consciously engages that new genre, the post September 11 novel. Only a small number of Australian novels have been published in this genre – perhaps inevitably, given our distance from the scene – and they can be read as relying on the familiar features of the thriller, the detective, or the citygrrl genres that readers find attractive. However, I will suggest that they do more than this. In a reading of Andrew McGahan’s Underground, and Richard Flanagan’s The Unknown Terrorist, I will discuss the ways in which a very local ‘accent’ is coloured by broader forces, and what contributions we can offer, here at the foot of the world, to the ongoing conflicts and human rights abuses in the hemisphere above us.

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