'Political Correctness': Pauline Hanson and the Construction of Australian Identity

In Australia there has been a great deal of discussion in recent years of something called ‘political correctness’. This term is an insidious phrase applied to academic humanists, who, it is frequently said, do not think independently but rather according to norms established by a cabal of ‘correct-thinking’ leftists. These norms are supposed to be overly sensitive to racism, sexism and the like, instead of allowing people to debate in what is supposed to be an ‘open’ manner (Said 1994:58). This article asks why Australia has witnessed a backlash against ‘political correctness’ at this point of time. Why has Hanson been able to mount a sustained attack on ‘political correctness’ and why has John Howard's response been muted? The article suggests notions of identity and difference are at the centre of the recent debate — the rhetoric has highlighted the politics of division while obsuring the issues of those marginal to the mainstream.     

A Pacific Sojourn: Anna Kavan and the New Zealand Connection, 1941–2

Abstract

This article examines Anna Kavan’s sojourn in New Zealand from February 1941 to November 1942 in the company of the pacifist playwright Ian Hamilton. Living in the most remote of the ex-British colonies reinforced Kavan’s ontological sense of homelessness and wish to disidentify from British society, yet the colony’s anglophone orientation offered familiarity within the strange and alien. The geography, landscapes and communities of its Pacific islands encouraged a reshaping of her imaginative engagement with otherness. Referring to Kavan’s recently published diary, ‘Five Months Further or What I Remember ab[ou]t New Zealand’, the essay argues that the New Zealand ‘experience’ encouraged her use of tropes of the Gothic and uncanny as she grappled with issues of distance, homelessness and disjunctive reality. The discussion focuses on the alternative/parallel world that New Zealand represents in stories published in I Am Lazarus (1945). It identifies experimental techniques associated with Gothic fiction by which Kavan registers the overlapping dualisms of war-torn London and idyllic rural New Zealand, and represents memory through framing devices and defamiliarizing rhetorical tropes as a distancing activity interrupting the present moment: dream sequences, irruptions into and splittings of reality, space and time reversals, doublings of self/other, disjunctive non sequiturs and ghostly mirror imaging.