Peter Carey's fictions explore the experiences lurking in the cracks of normality, and are inhabited by hybrid characters living in between spaces or on the margins. Carey took a circuitous route into literature and writing. Characterising Carey's stories takes us to the heart of his fictional practice. Most adopt a mixture of narrative modes, a central feature of his writing. In Carey stories, terminal societies trap characters in drive-in movie car parks, or offer the bizarre possibility of exchanging bodies, or generate a counter-revolutionary resistance movement led by fat men. Grouping the stories around themes and issues allows for a fairly comprehensive insight into Carey's shorter works, and provides some key threads for later discussions of the longer fiction. Four of the most significant areas are: American imperialism and culture; capitalism; power and authority; and gender. In Bliss, the hippy capitalists of 'War Crimes' are replaced by the more conventional scenario of hippies versus capitalists. Illywhacker examines twentieth-century Australian history with the savage humour and fantasy of the earlier fiction now placed within an epic framework. Oscar and Lucinda might be termed 'retro-speculative' fiction. The Tax Inspector is Carey's most savage novel to date, and it captures Marx's vision of the ravening effects of capital. The Unusual Life of Tristan Smith marks a return to the overt alternative world-building found in the early stories with their fantastic and fable-like scenarios. The overlap between post-modernism and post-colonialism in Carey has been investigated by a number of critics.
significant areas are: Americanimperialism and culture; capitalism; power and authority; and gender.
America has a spectral fascination for many Australian writers, as Don Anderson has pointed out. He usefully quotes Jean Baudrillard to help explain this: ‘whatever one thinks of the arrogance of the dollar or the multinationals, it is this culture which, the world over, fascinates those very people who suffer most at its hands, and it does so through the deep, insane conviction that it has made all their dreams come true.’ 9 In ‘American Dreams
This chapter offers a case study of political cartoons treating US foreign
policy towards Cuba that appeared in Punch between 1840 and 1859. Drawing
clear linkages with the development of the novel – and the Bildungsroman
form – the chapter observes in Punch’s commentary on American imperialism a
complex series of developments. Using the character of ‘Master Jonathan’,
British cartoonists personified the United States as a problematic youth
whose upstart and mercenary national ambitions threatened both the welfare
of the Cuban people and the national interest of his personified parent,
Great Britain, in a variety of domains. The case study has much to tell us
about both an important episode in nineteenth-century colonial history and
the power of literary form, broadly construed, in shaping the political and
ideological operations of culture.
The new regime in the Kremlin did not bode well for Israel, as Brezhnev and Kosygin continued to condemn Israel as agent of American imperialism. They gave official backing to the new radical regime in Damascus, and supported the PLO's terrorist activities. In response Israel increased its activities for Soviet Jewry. The establishment of diplomatic relations between West Germany and Israel was another cause for condemning Israel as participating in the anti-soviet campaign, and the Soviet press equated Zionism and Nazism. Israel admitted it was trapped between its demographic need for the emigration of Soviet Jews and its dependence on the west. The visit to the Soviet Union of both Egyptian and Syrian heads of states, and the public Soviet support for their regimes, was ominous. A year before the Six Day War the Kremlin accused Israel of concentrating troops on the border to topple the Syrian regime.
Identity is often regarded as something that is possessed by individuals, states, and other agents. In this edited collection, identity is explored across a range of approaches and under-explored case studies with a view to making visible its fractured, contingent, and dynamic features. The book brings together themes of belonging and exclusion, identity formation and fragmentation. It also examines how identity functions in discourse, and the effects it produces, both materially and in ideational terms. Taking in case studies from Asia-Pacific, Europe, the Middle East and Latin America, the various chapters interrogate identity through formal governing mechanisms, popular culture and place. These studies demonstrate the complex and fluid nature of identity and identity practices, as well as implications for theorising identity.
This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused. Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends. The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences. Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.
J. Smith, The Spanish–American War: Conflict in
the Caribbean and the Pacific, 1895–1902 (London: Longman, 1994),
A. Ferrer, Insurgent Cuba: Race, Nation, and Revolution,
1868–1898 (Chapel Hill: University of North Carolina Press, 1999),
15–89; P. T. McCartney, Power and Progress: American National Identity,
the War of 1898, and the Rise of AmericanImperialism (Baton Rouge
Responses from ‘the margins’
While we have acknowledged that the past and continuing global
dominance of Hollywood movies remains obvious and at present
apparently inexorable, debate continues about whether this domination
is, in essence, to be celebrated or condemned. Competing views about
Hollywood are associated with questions regarding what effects arise
from this domination. To examine and assess the cultural politics of
Americanimperialism – that is, the socio-political effects of Hollywood’s
cinematic dominance – it is necessary to consider debates
beneficiaries of the support they generously lent to Americanimperialism and Western capitalism. As Wald argues, in a period of declining living
standards and state-enforced austerity for the working class, many of these
newborn conservatives were handsomely rewarded for their important role
in legitimising Americanimperialism. For casting in the most favourable light
the exploitative activities of the ruling class, they were on the receiving end
of lucrative grants from conservative bodies such as the American Enterprise
Institute and the Heritage Foundation, as well as
Bengal, Vietnam and transnational solidarities in Utpal Dutt’s Invincible Vietnam
attracted the attention of
more and more people through ever-widening public outrage against
Americanimperialism. Contemporary newspaper reports suggest that
such protests involved thousands of students, who were also joined
by workers and employees from different sectors. 13 For example, on 8 April 1965
two student organisations, the Students’ Federation and the