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The politico-historical settings of Christos Tsiolkas’s novels  The Jesus Man  (1999) and  The Slap  (2008) compromise the expressions of self manifested by his transcultural characters. The failure of Howard-era multicultural policies combines with the economic rationalising of the culture wars and the xenophobic hysteria spread by Pauline Hanson’s One Nation Party to haunt those marginalised by the Eurocentricity of Australian culture. As a result, the transcultural characters of  The Jesus Man  are forced to externalise an augmented version of their performative selves, compromised as they are by such cultural homogenisation; in  The Slap , the failure of neoliberal multicultural policies manifests in the anxieties experienced by the characters. The characters of both novels are forced to confront these sociocultural, historical and psychological conflicts in a space laden with historical tensions, cultural erasure and political uncertainty. This article argues that Tsiolkas’s real-world fictional settings problematise the performance of his multicultural characters in ways that unsettle hegemonic constructions of Australian culture. In particular, I contend that from this tension, a blurred space emerges that offers a way forward for transcultural subjects: it is a liminal space in which cultural syncretism is encouraged, cultural performance is delimited, and hegemonic cultural norms are mitigated.

The Blurred Space: Reading the Body Politic in Christos Tsiolkas’s The Slap and The Jesus Man