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Colonial Australian Fiction
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Colonial Australian Fiction : Character Types, Social Formations and the Colonial Economy

Book Details

Format Paperback / Softback
ISBN-10 1743324618
ISBN-13 9781743324615
Publisher Sydney University Press
Imprint Sydney University Press
Country of Manufacture GB
Country of Publication GB
Publication Date Apr 7th, 2017
Print length 138 Pages
Weight 260 grams
Dimensions 25.00 x 17.60 x 1.10 cms
Product Classification: Literary studies: c 1800 to c 1900
Ksh 7,200.00
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Over the course of the 19th century a remarkable array of character types appeared – and disappeared – in Australian literature. 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.

Over the course of the 19th century a remarkable array of character 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.


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