The first Chinese in Australia are said to have arrived as early as 1818, and since then, many more have made Australia their homeland--the current Chinese population is over half a million. It is therefore not surprising that the Chinese are featured in many Australian literary works. This book examines the representation of the Chinese in Australian fiction from 1888 to 1988, with an Author Commentary at the end that provides a brief update on the subsequent fictional representations of the Chinese. It begins with an overview of the Chinese in Australian and Chinese history, followed by a theoretical examination of how the Chinese are made the "Other" by Orientalism, racism, and ethnocentrism. It discusses literary texts written over a period of one hundred years from 1888 to 1988. The study is divided into three major periods of 1888-1901, 1902-1949, and 1950-1988. The first period (1888-1901) deals with the initial attempts to represent the Chinese in fiction as the bad Other by the early Bulletin writers, the Australian responses to the rise of the fear of "the Yellow Peril" in "invasion literature," and the imperialist will to power over the Chinese in writings set in China by Anglo-Australian writers. Apart from pursuing the issue of the continued fear and stereotyping of the Chinese in popular writing, the second period (1902-1949) introduces a new phenomenon of literary Sinophilism that dichotomizes the representation of the Chinese and examines the image of Chinese women. The third period (1950-1988) focuses on the problem of politicisation that polarizes literary attitudes towards the Chinese, and discusses Australia's "Asian writing" as an extension of colonial writing that continues to "Other" the Chinese and explores multicultural writing as an alternative means of representation. This is an important book that illustrates how the "Other" is represented and will be a valuable book for those in Australian studies, Asian studies, and literary studies.

Culture, Identity, Commodity is a pioneering work focused on diasporic Chinese literary production in English. It provides broad-ranging, critically-engaged textual analyses that address the dynamic area of diasporic Chinese literary studies from American, Australian, and Canadian perspectives. The innovative research in this collection comes from established and emerging scholars who draw on threads of transnational, postcolonial, globalization, and racialization theories to engage with a broad range of texts including novels, autobiographies, plays and Chinese cooking shows. In so doing, the authors examine issues of cultural and racial identity, the politics of Chinese-ness and the commodification of race/ethnicity, and negotiations of belonging in contemporary Western society. The breadth and depth of the volume's twelve chapters and critical introduction encapsulate vital components of this active research field. The book is a handy reference and critical work for researchers and students and others interested in diasporic Chinese literatures in English, contextualizing national conditions and interrogating the thematics of diasporic and transnational experiences. The volume will be of interest to those researching in diasporic Asian studies, Chinese and English literatures, Australian, Canadian or American literary studies, as well as lay readers interested in intercultural creative and cultural issues.

A fresh twenty-first century look at Australian literature in a broad, inclusive and multicultural sense.

Over the course of the nineteenth century a remarkable array of types appeared – and disappeared – in Australian literature: the swagman, the larrikin, the colonial detective, the bushranger, the “currency lass”, the squatter, and more. Some had a powerful influence on the colonies’ developing sense of identity; others were more ephemeral. But all had a role to play in shaping and reflecting the social and economic circumstances of life in the colonies. In Colonial Australian Fiction: Character Types, Social Formations and the Colonial Economy, Ken Gelder and Rachael Weaver explore the genres in which these characters flourished: the squatter novel, the bushranger adventure, colonial detective stories, the swagman’s yarn, the Australian girl’s romance. Authors as diverse as Catherine Helen Spence, Rosa Praed, Henry Kingsley, Anthony Trollope, Henry Lawson, Miles Franklin, Barbara Baynton, Rolf Boldrewood, Mary Fortune and Marcus Clarke were fascinated by colonial character types, and brought them vibrantly to life. As this book shows, colonial Australian character types are fluid, contradictory and often unpredictable. When we look closely, they have the potential to challenge our assumptions about fiction, genre and national identity. The preliminary pages and introduction to this work are available free to download at the Sydney eScholarship Repository: https://hdl.handle.net/2123/16435 Contents Introduction: The Colonial Economy and the Production of Colonial Character Types 1 The Reign of the Squatter 2 Bushrangers 3 Colonial Australian Detectives 4 Bush Types and Metropolitan Types 5 The Australian Girl Works Cited Index About the series The Sydney Studies in Australian Literature series publishes original, peer-reviewed research in the field of Australian literature. The series comprises monographs devoted to the works of major authors and themed collections of essays about current issues in the field of Australian literary studies. The series offers well-researched and engagingly written re-evaluations of the nature and importance of Australian literature, and aims to reinvigorate its study both in Australia and internationally.

The Cambridge History of the Australian Novel is an authoritative volume on the Australian novel by more than forty experts in the field of Australian literary studies, drawn from within Australia and abroad. Essays cover a wide range of types of novel writing and publishing from the earliest colonial period through to the present day. The international dimensions of publishing Australian fiction are also considered as are the changing contours of criticism of the novel in Australia. Chapters examine colonial fiction, women's writing, Indigenous novels, popular genre fiction, historical fiction, political novels, and challenging novels on identity and belonging from recent decades, not least the major rise of Indigenous novel writing. Essays focus on specific periods of major change in Australian history or range broadly across themes and issues that have influenced fiction across many years and in many parts of the country.

This book examines haunting in terms of trauma, languaging, and the supernatural in works by Chinese Australian writers born in Australia, Mainland China, Hong Kong, Malaysia, and Singapore. It goes beyond the conventional focus on identity issues in the analysis of diasporic writing, considering how the memory of past trauma is triggered by abusive systems of power in the present. The author unpacks how trauma also brings past violence to haunt the present. This book considers how different Chinese diasporic communities present a dynamic and multiple state through partial erasure between different Chinese subcultures and other cultures. Showing the supernatural as a social and cultural product, this book elucidates how haunting as the supernatural refers to the coexistence of, and the competition between, different cultures and powers. It takes a wide-ranging view of different diasporic communities under the banner ‘Chinese’, a term that refers not only to Chinese nationals in terms of citizenship, but also to the Chinese diaspora in terms of ancestry, and Chinese culture more generally. In analysing haunting in texts, the author positions Chinese culture as in a constant state of flux. It is relevant to literary scholars and students with interests in Australian literature, Chinese and Southeast Asian migration writing, and those with an interest in the Gothic and postcolonial traditions.