This ambitious re-situating of the noir in the ethnically diverse Australian city, with its complicated stratifications of class and ethnicity, raises the question of what the genre can do for these new contexts. Noir has long offered a space for airing working-class grievances, and for smuggling in queer and feminist subtexts. What, then, does noir do for contemporary Western Sydney, and what can it do for the children of migrants and working-class queers in Australia? Can the genre be re-inhabited in ways that self-consciously expose the grim machinations and effects of new types of economic, psychic and social exclusion while delivering, concurrently, the reading pleasures of mystery and melodrama? It is certainly a lot to pull off.
'In Felicity Castagna’s No More Boats, we are repeatedly reminded that the novel’s locale, Parramatta, marks the shifting aqueous site in Sydney’s Western suburban landscape where ‘saltwater meets fresh’. Historically, this is the place where Australia’s early colonial explorers, travelling up the Parramatta River from Sydney Cove in 1788, could take their boats no further. It is also one of numerous sites of resistance to European invasion by the Aboriginal warrior, Pemulwuy. In Castagna’s hands, this rich and multi-layered history of place is embodied in the topography of the Parramatta River and its intricate estuarine environment, creating a wonderfully nuanced metaphor.'