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'No nails new under the sun': creativity, climate change and the challenge to literary narrative in Thea Astley's drylands
Thea Astley’s millennial novel Drylands, a self-declared ‘book for the world’s last reader’ (1999: title page), offers an opportunity to reappraise literary narrative and creative experimentation in a time of climate change. This essay takes this up by reading Astley’s text as a paradoxical account of literature’s failings to either nourish or repair a drought-ridden, economically, environmentally and empathically beleaguered town in regional Australia. Astley’s vision is ostensibly declentionist wherein the only hope for the future seems to lie in the inevitable ruins of the present. Within these ruins lies the fate of particular, historical creative forms, most notably the literary novel, which, as an expression of Western epistemology, is now evacuated of meaning. On the one hand, Astley seems to offer no reversed fortune for her characters or the textual practice that ironically brings them to life; however, the essay offers a further, dissonant reading of the text through a perspective of distributed agency which, as climate change unfolds, is where possibilities for literary work may lie.
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TEXT: journal of writing and writing programsVolume
Special issue: prose poetryIssue
40Pagination
1 - 7Publisher
Australian Association of Writing ProgramsLocation
Nathan, Qld.ISSN
1327-9556Language
engPublication classification
C1 Refereed article in a scholarly journalCopyright notice
2017, Australasian Association of Writing ProgramsUsage metrics
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