ABSTRACT

The David Malouf Collections at Canberra and Brisbane archive the manuscripts, correspondence, and diary entries of the noted Australian writer. Malouf’s authorship transforms these ordinary drafts and materials into finished works that are recognised and read internationally. The present paper attempts to indicate some nodes from the collections which bear traces of this metamorphosis of the commonplace into the novel.

The paper is divided into three sections. The introductory part reflects on a recent study conducted on the manuscript collections of J. M. Coetzee. Through a close reading of Malouf’s Fly Away Peter, it argues that much like Coetzee, the former’s novels also figure the ‘writing event’ in their narrative in a manner that exceeds the various contexts of its production, reception, and exchange. The second segment of the paper pays particular attention to three novels of Malouf – Johnno, An Imaginary Life, and The Great World. It close-reads sections from these works to underline the significance of the way their published versions differ from their numerous drafts and re-drafts. The conclusion discusses the implications of such dissonance in terms of some current developments in the fields of ‘postcritical’ thinking, literary editing, and book history.

摘要

堪培拉和布里斯班的大卫·马洛夫（David Malouf）收藏着著名澳大利亚作家的手稿，书信和日记。马卢夫（Malouf）的作者身份将这些普通的草稿和资料转换为国际认可和阅读的成品。本论文试图指出集合中的一些节点，这些节点具有这种平凡的变态到小说中的痕迹。

本文分为三个部分。引言部分反映了最近对JM Coetzee的手稿收藏进行的一项研究。通过仔细阅读Malouf的《Fly Away Peter》，它认为与Coetzee一样，前者的小说在其叙事中也以超出其生产，接受和交流的各种背景的方式来描述“写作事件”。本文的第二部分特别关注马洛夫的三本小说-约翰诺（Johnno），《想像的生活》和《大世界》。它仔细阅读了这些作品的各个部分，以强调其出版版本与众多草稿和重新草稿不同的重要性。结论从“后批判”思维，文学编辑和书籍历史领域的一些最新发展方面讨论了这种不和谐的含义。