Book contents
- Frontmatter
- Contents
- Acknowledgements
- Preface
- Introduction: Pasolini's Ashes
- 1 The Down-Curve of Capital: Loaded
- 2 Inside the Machine: From Loaded to The Jesus Man
- 3 The Pornographic Logic of Global Capitalism: Dead Europe
- 4 In the Suburbs of World Literature: From Dead Europe to The Slap
- 5 The Politics of the Bestseller: The Slap and Barracuda
- Conclusion. Aesthetic Autonomy and the Politics of Fiction
- Notes
- Bibliography
- Index
1 - The Down-Curve of Capital: Loaded
Published online by Cambridge University Press: 18 January 2018
- Frontmatter
- Contents
- Acknowledgements
- Preface
- Introduction: Pasolini's Ashes
- 1 The Down-Curve of Capital: Loaded
- 2 Inside the Machine: From Loaded to The Jesus Man
- 3 The Pornographic Logic of Global Capitalism: Dead Europe
- 4 In the Suburbs of World Literature: From Dead Europe to The Slap
- 5 The Politics of the Bestseller: The Slap and Barracuda
- Conclusion. Aesthetic Autonomy and the Politics of Fiction
- Notes
- Bibliography
- Index
Summary
The morning is ending and I've just opened my eyes. I stare across the cluttered room I'm in. I yawn. I scratch at my groin. I feel my cock and start a slow masturbation. When I'm finished, and it doesn't take long, I get up with a leap, wrap a towel around my naked body and make a slow journey downstairs.
I hear noises from throughout the house. A robotic voice is squealing over a bass-beat on the CD. The very narrow stairs stretch down before me. I walk past cobwebs, stains on the carpet, a biro on one step, a cigarette butt on another. In the lounge I grab a packet of cigarettes and light one. On the mantelpiece I notice an old family photo. I've forgotten this photo. My brother in a red shirt and black shorts has one arm around the old man and another around my mum. She looks like Elizabeth Taylor, or at least is trying to, and Dad is wearing a grey suit with a narrow black tie. He's trying to look like Mastroianni, or like Delon. The tie belongs to me now. I'm in the picture too. Sitting cross-legged on the grass, in a blue shirt, aiming a plastic gun at the camera. The colours in the photo are rich, bright. Colour photos don't do that any more. Technology makes things look too real. I turn away from the photograph and look at last night's mess strewn across the lounge room. It's not my place.
The opening of Loaded—the beginning, in fact, of Tsiolkas's career—has a certain artlessness about it that might also be described as immediacy: firstperson voice, present tense, a consciousness that roves over the banal, empirical detail of what is simply at hand. There is little ability or willingness to determine which of these details has weight and which does not. If this produces a sort of reality-effect, it also runs the risk of reproducing for the reader the tedium of everyday objects and observations. In fact, before two pages have elapsed, Ari, the novel's narrator, declares that he is “already bored” (3). The feeling we get from these opening pages is that the proliferation of everyday detail is crowding out the conventions of narrative, if not the possibility of narrative itself.
- Type
- Chapter
- Information
- Christos Tsiolkas and the Fiction of CritiquePolitics, Obscenity, Celebrity, pp. 21 - 40Publisher: Anthem PressPrint publication year: 2015