Titlebook: Sydney and Its Waterway in Australian Literary Modernism; Meg Brayshaw Book 2021 The Editor(s) (if applicable) and The Author(s), under ex

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,Plans, Porosity and the Possibilities of Urban Narrative: Kylie Tennant’s , (1939),y during the interwar period. Tennant engages with the uneven development of water infrastructure in Sydney, highlighting water’s imbrication with the city’s power dynamics. This chapter utilises the concept of ‘porosity’ to argue that Tennant’s novel both models and calls for a city made by its cit

浮雕

,The End of the City: M. Barnard Eldershaw’s , (1947; 1983),el’s sense of crisis and catastrophe has its source not only in global warfare but in the threat of ecological collapse. Written between 1940 and 1944, the novel’s composition was roughly contemporaneous with World War II drought, which caused catastrophic bushfires and almost crippled Australia’s w

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Conclusion: Sydney then and Now, city in an era of inaccessible housing, unstable infrastructure and climate change. What role can and should literature have in the context of global climate crisis? Engaging with recent critical debates on this subject, I argue that the Sydney fiction in this study exemplifies the novel form’s cap

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,Ecology, Urban Ethics and the Harbour: Eleanor Dark’s , (1938),d augmenting each other. The novel ends with shipwreck on Sydney Harbour, and this chapter explores the event as a temporal and ideological fissure that complicates and exceeds the novel’s model of settler colonial ethics.

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Introduction: Writing a City Built on Water,ontest these discourses by writing the city through its water. The introduction puts forward a model of ‘regional’ or localised modernism that affords opportunities to engage with aesthetic, thematic and formal responses to modernity understood as a phenomenon that is both situated . transcalar, conceptual . embodied.

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Book 2021hen as now, Sydney Harbour is both an ecological wonder and ladened with economic, cultural, historical and aesthetic significance for the city by its shores. In Australia’s earliest canon of urban fiction, writers including Christina Stead, Dymphna Cusack, Eleanor Dark, Kylie Tennant and M. Barnard

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,The Origins of Australian Urban Modernity: Christina Stead’s , (1934),tensity is generated by the waterway, which for Stead is a primal presence in the city and a dynamic aesthetic force. This chapter shows how the novel’s content and form are structured by aqueous dynamics of blockage and flow, submersion and elevation that correspond with the novel’s unsteady mix of hope and despair.

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,Science, Everyday Experience and Modern Urban Women: Dymphna Cusack’s , (1936),s for living. At the same time, . is a book deeply interested in the philosophical and literary potential of new science, and fundamental questions of life’s purpose in a newly relativistic universe. Cusack tests the limits of modern theories of existence against the social and physical realities of life for women in modernity.

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