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• W2122667665 abstract "THE MAKING A FICTION OF HISTORY PANEL AT THE 2007 Sydney Writers' Festival included award-winning novelist, Roger McDonald, and renowned historian and public intellectual, Inga Clendinnen. Given Clendinnen's well-publicized attack on the opportunistic transpositions and elisions (16) of historical fiction generally, and Kate Grenville's Secret River in particular, I anticipating her criticism of McDonald's historical novel, Ballad of Desmond Kale, especially of what I considered its elision of indigenous genocide and dispossession. Instead, Clendinnen specifically exempted McDonald's work from her arguments against historical fiction. Clendinnen's praise of McDonald's novel (which won the Miles Franklin Literary Award in 2006, the same year that Grenville's book short-listed) caused me to look anew at her essay and his novel. Returning to Clendinnen's The History Question, I struck by the disjunction between her insistence on the political significance of stories about history, and her claim that authors of fiction have only aesthetic, not moral, obligations in their work.I also noticed a resonance between Clendinnen's views on Anzac Day and McDonald's construction of an ideal history of Australian settlement. In Ballad, McDonald explicitly constructs the inland as an ideal site of equality, freedom, and authentic Australian settlement. Yet as I will argue, this construction enabled by, at the same time as it conceals, an aggression towards and rejection of women and homosexuals, as well as working-class and indigenous people. Discussing Australian national identity in relation to Anzac Day, Clendinnen honors the Australians took away from the First World War (12). Although aware of the exclusions underlying this legacy, Clendinnen seems highly invested in the all-white, all-male origins of Anzac Day: her throat still tightens remembering the Dawn Services she attended in die late 1930s, when she was still too young to count as female (women were of course banned from this sacred men's business) (11). Being one of the Others excluded from this ritual, Clendinnen occupies an ambivalent position in relation to this signifier of national identity, and consequently, to what Jennifer Rutherford has termed the of Australia as the site of a privileged and realised (15). Nevertheless, Clendinnen's depiction of the legacy of Anzac Day has connections with the more aggressive and unambivalent manifestation of this fantasy in McDonald's book. In accepting and supporting the fantasy of Australia as quintessentially free and equal, such constructions of national identity camouflage, at the same time as they enable, the aggression to and rejection of the Other that underlies white Australian society, historically and today.Clendinnen's sympathy with John Howard in her celebration of Anzac Day - and even with his longing for a clear, celebratory story of how Australia got to be the fine country it undoubtedly is (2) - reveals the wider resonance of this shared fantasy. Such correspondence between constructions of national identity by figures associated with the left in Australia (Clendinnen and McDonald) and Howard, an icon of the right, suggests a contraction in available and permissible sentiments about nationhood. As the Australian nation becomes increasingly fearful of external and internal Others - an attitude especially apparent in Howard-era discourses of terrorism and refugees - the idea that Australia good becomes obligatory. (At the same time, the violent consequences of that fear expose the lie of this joint fantasy.)In the light of the widespread portrayal of Australia as a good nation, it seems significant that McDonald's prizewinning manifestation of this fantasy has received so little critical attention. Indeed, whereas Grenville's book has been vigorously debated by both historians and literary critics, McDonald's novel has received only brief reviews. …" @default.
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• W2122667665 date "2008-12-01" @default.
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• W2122667665 title "Opportunistic Transpositions and Elisions: Roger McDonald's The Ballad of Desmond Kale; or, The Fiction Question: Who Owns Stories?" @default.
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