Australian Women Writers Gen 3 Week 12-18 Jan. 2020
Last year I wrote a post about Miles Franklin winning the 1936 Prior Prize with All That Swagger (here). I tried, largely unsuccessfully, to identify the prize winners in other years, especially as Eve Langley was a joint winner with two (unknown) others in 1940 when she so desperately needed the money.
In the course of setting up my Australian Women Writers Gen 3 page this week – so that you all have no excuses for not finding a book to review for AWW Gen 3 Week 12-18 Jan, 2020 – I thought that I would revisit my attempts to identify the winners, as the Prior, and its predecessor the Bulletin, were important literary prizes for a while during the Gen 3 period, 1919-1960, providing £100 to the winner, serialisation in the Bulletin, and subsequent publication.
After faffing around for a couple of hours, searching on ‘Prior’, on individual books, and on the ALS Gold Medal, I finally did the sensible thing and searched on ‘S.H. Prior Memorial Prize’ and came up with a Wikipedia entry named exactly that (here). So now, below, you may see all the winners for the Bulletin/Prior, the ALS Gold Medal and the Miles Franklin up to 1960 (I don’t know what prizes were available to Australian authors before 1928, none probably).
The SH Prior site referenced a couple of newspaper articles, one in 1935 setting up the prize (here) which makes no mention of the Bulletin Prize it is replacing. And one in 1937 (here) saying no prize was being awarded and that the £100 would carry forward to the following year. As it happened, no prize was awarded in 1938 either, and in 1939 Miles Franklin won with a hastily knocked up essay about the biography she was writing on Joseph Furphy (here). This probably explains why there was £300 available in 1940 the year Eve Langley won. It turns out her co-winners were Kylie Tennant for The Battlers (not the 1941 winner as is often reported) and MH Ellis for his biography of Lachlan Macquarie (which had won the previous year but been disqualified for “insufficient documentation”).
Argus and SMH (Melbourne and Sydney newspapers) Prizes were awarded in 1946 but I can’t find any other mention of them. If you can help me out I’ll add them to the listings on the AWW Gen 3 page, which in its first iteration now sits proudly in the Menu bar above.
“Argus Prize” on Trove brings up singing, painting, cycling and school speech nights but no books, not even “Dusty”. “SMH Prize” works a little better. On 28 Jan 1947 the Communists were meeting to review The Harp in the South, KSP’s The Roaring Nineties and Eleanor Dark’s The Little Company (here). They don’t make political parties like that any more! And I should have remembered Clift and Johnston won with High Valley in 1948.
1929 M Barnard Eldershaw, A House is Built, KS Prichard, Coonardoo
1930 Vance Palmer, The Passage
1932 Velia Ercole, No Escape
1935 Kylie Tennant, Tiburon
1936 Miles Franklin, All That Swagger
1937 not awarded
1938 ” ”
1939 Miles Franklin & Kate Baker, Who Was Joseph Furphy?
1940 Eve Langley, The Pea Pickers, Kylie Tennant, The Battlers, MH Ellis, Lachlan Macquarie (biog.)
1941 not awarded
1942 Gavin S. Casey, It’s Harder for Girls
1943 not awarded
1944 ” ”
1945 Douglas Stewart, The Fire on the Snow
1946 Brian James, Cookabundy Bridge 1946Argus Prize: Frank Dalby Davidson, Dusty
1946SMH Prize: Ruth Park, The Harp in the South 1947 1948 G Johnston & C Clift, High Valley
1928 Martin Boyd, The Montforts 1929 Henry Handel Richardson, Ultima Thule 1930 Vance Palmer, The Passage 1931 Frank Dalby Davidson, Man Shy 1932 Leonard Mann, Flesh in Armour 1933 Edith Lyttleton (writing as GB Lancaster), Pageant 1934 Eleanor Dark, Prelude to Christopher 1935 Winifred Burkett, Earth’s Quality 1936 Eleanor Dark, Return to Coolami 1937 Seaforth Mackenzie, The Young Desire It 1938 RD Fitzgerald, Moonlight Acre 1939 Xavier Herbert, Capricornia 1940 William Baylebridge, This Vital Flesh 1941 Patrick White, Happy Valley 1942 Kylie Tennant, The Battlers 1943 1944 1945 1946 1947 1948 Herz Bergner, Between Sky and Sea 1949 Percival Serle, Dictionary of Australian Biography 1950 Jon Cleary, Just Let Me Be 1951 Rex Ingamells, The Great South Land: An Epic Poem 1952 Tom Hungerford, The Ridge and the River 1953 1954 Mary Gilmore, Fourteen Men 1955 Patrick White, The Tree of Man 1956 1957 Martin Boyd, A Difficult Young Man 1958 1959 Randolph Stow, To the Islands
Australian Women Writers Gen 3 Week 12-18 Jan. 2020
Lisa (ANZLitLovers) wrote to me this week to enquire which writers we would be covering in Gen 3 Week, so she could get started with her reading. I was on my way home from a quick trip to Melbourne (for a change!) – I left Sat lunchtime and got home Fri night – so I thought it might be simplest, and I would have the time, to knock up a post giving the dates and a simple outline.
Gen 3 – and you know these are ‘my’ generations, though HM Green is in broad agreement – covers the period from the end of WWI to the beginning of the sixties.
Gen 1, from the beginnings of white settlement to 1890, began with letter writing and memoirs and graduated to ‘colour’ novels for the home (English) market. Women’s novels, for the best part of a century dismissed as “romances” by the literary establishment, displayed both a marked spirit of independence and a growing love for the Australian landscape (here).
Gen 2, 1890-1918, covers peak Bulletin – Federation, nationalism, and the birth of the Australian Legend, the anti-hero in the Bush and at War (here). For many Australian writers Gen 2 never ended. Women writers responded by making it clear that it wasn’t just men doing it hard, and so a Pioneer Legend was born as well, and it too lives on in popular fiction, coming to the fore from time to time when politicians are not trying to distract us and glorify themselves, with pointless wars.
Gen 3, 1919-1960, is the story of White Australians clustered in a few cities on the arable fringes of a hostile continent. We sent out explorers – Ion Idriess, Frank Clune, Ernestine Hill – to remind us just how hostile, how other, the Dead Centre really was, and their writing was tremendously popular, but the Literary writers of this generation, and the best of them were women, began to write the stories of ordinary men and women in the cities. Aboriginal Australians had their own myth, or rather we had a myth about them, that they were out there in the desert and that they were dying out. This comes up in Idriess and Hill and most particularly of course in Daisy Bates’ The Passing of the Aborigines (1938). But for the first time Aboriginals are pictured sympathetically and at length in fiction, most notably by Eleanor Dark, KS Prichard and Xavier Herbert.
There are two strands to Gen 3, ‘Social Realism’ and ‘Modernism’, though a third strand, Bush/Pioneering from Gen 2 never really goes away.
Realism began in France in the middle of the C19th as a reaction to Romanticism. The idea was to picture life ‘warts and all’, eg. Zola. This led to Social Realism, in the first half of the C20th, which depicts the harshness of working life in order to critique the forces giving rise to it, ” Social Realism aims to reveal tensions between an oppressive, hegemonic force, and its victims” (wiki). By contrast Socialist Realism, which was the mandated style for Communists around the same time, idealizes the (post-Revolution) Worker.
Modernism. Quotes are from The Literature Network (here):
The Modernist Period in English Literature occupied the years from shortly after the beginning of the twentieth century through roughly 1965. In broad terms, the period was marked by sudden and unexpected breaks with traditional ways of viewing and interacting with the world. Experimentation and individualism became virtues, where in the past they were often heartily discouraged. Modernism was set in motion, in one sense, through a series of cultural shocks. The first of these great shocks was the Great War … [A] central preoccupation of Modernism is with the inner self and consciousness. In contrast to the Romantic world view, the Modernist cares rather little for Nature, Being, or the overarching structures of history. Instead of progress and growth, the Modernist intelligentsia sees decay and a growing alienation of the individual. The machinery of modern society is perceived as impersonal, capitalist, and antagonistic to the artistic impulse.
I have left it till this point to consult HM Green A History of Australian Literature (1960, revised 1985). His Fourth Period (and remember he treats my Gen 1 as two Periods), 1923-1950, is titled ‘World Consciousness and Disillusion’. He writes that notwithstanding the Depression and WWII this “current” period – current when he was writing – is marked by the gradual accumulation of individual wealth. Ahhh remember when one working man could by the honest labour of a forty hour week purchase a modest house and support a wife and children.
The bible of this period is Drusilla Modjeska’s Exiles at Home: Australian Women Writers 1925-1945 (1981) and I must review it in time for the beginning of the Week. She writes,
Within a decade the novel had broken the orientation towards poetry and short fiction that had dominated Australian literature since the 1890s… The ten years between 1917 and 1927 saw the publication of only 27 novels as against 87 volumes of verse, whereas for the years 1928-1939, there were 106 novels and only 57 volumes of verse.
Modjeska goes on to note the pre-eminence of women writers during Gen 3, and quotes Nettie Palmer (1934):
A few years ago it would have been impossible to open a bookshop in Melbourne devoted to Australian books; this has now been done.
I’m struggling to place the women whose writing is mostly within this period in their proper strands, but I’ll have a go and hope that incites you all to argue.
Henry Handel Richardson (for Maurice Guest)
Christina Stead, see the Christina Stead page on ANZLL (here)
Eleanor Dark, my recent review of Waterway (here)
Eve Langley, The Pea Pickers and White Topee (here)
Elizabeth Harrower and Thea Astley began writing in the 1950s but if we consider them at all in Gen 3 let’s leave them till Gen 3 (part 2)
Nettie Palmer, as friend and critic
M Barnard Eldershaw
Henrietta Drake Brockman
Ernestine Hill (an unsatisfactory biog. here)
Gwen Harwood (I have her book of letters, Blessed City)
Ok. I hope that gives you enough to get on with. Apart from Modjeska, Nettie Palmer wrote a volume of criticism that covers this period, and Dale Spender’s Writing a New World does too.
Let me know who I’ve missed and who I’ve misclassified. I’ll publish reminders closer to the date. Now start reading!
You guys all grew up reading Little Women I’m sure. Milly did, and Gee says that she and Psyche did, though I don’t remember giving it to them, but I didn’t. No sisters, no copy in the house. So I read/listened to it for the first time just a week or so ago and thought the first sentence of my review was going to be “I couldn’t find a way into reviewing this book which you all know by heart – no trucks!” BUT. In Part II, Chapter 23* a distressed Jo steps out into traffic without looking, into the path of a … truck. I pictured a costermonger’s barrow
though Websters suggests any “strong horse-drawn or automotive vehicle for hauling” so I’m not sure what Alcott intended.
*I wrote ‘2/23 truck’ on the back of my hand because that is my notebook when I am driving, but Ch 23 is actually in Part I, and now I can’t find the quote.
Louisa May Alcott (1832-1888) wrote Little Women in two parts, which came out in 1868 and 1869. It is generally regarded as fictionalised autobiography and as a novel for children. I’m sure most of you read it at around 12 or 13 but it seems to me to be directed more at young women getting ready for adulthood and marriage.
At the beginning of the novel Mr March, father of the little women of the title, is away at the American Civil War, as a chaplain (on the Union side) so the year is around 1862. Nathaniel Hawthorne’s The Scarlet Letter came out in 1850, Elizabeth Gaskell’s first, Mary Barton, was published in 1848, all of Jane Austen’s had been out for 30 or 40 years, but the two works which Alcott has Jo reading are The Vicar of Wakefield (secretly, for amusement, when she’s meant to be reading sermons to her wealthy, aged aunt) and Fanny Burney’s Evelina, both dating from the previous century. I wish just one author would write, “I rushed down to the bookshop for the latest xxx”, Dickens maybe, who was then at the height of his popularity. Of course the work which is central to Little Women is the older again Pilgrim’s Progress, John Bunyan (1678), another “first novel written in English” (here).
There is of course nothing I can tell you about the book itself. I found it a bit preachy but am used to that strain of Christian duty in books of that time; and I probably preferred Anne of Green Gables (1908, I hadn’t remembered it was so ‘recent’). I would though like to say a little about ‘the Independent Woman’. Jo speaks at length about the advantages of being unmarried and of course she famously refuses to marry the boy next door. Alcott herself remained unmarried, supporting herself as a governess and writer (her family’s connections with Thoreau, Emerson, the Underground Railroad are fascinating (wiki) and I would like to read more).
“An old maid, that’s what I’m to be. A literary spinster, with a pen for a spouse, a family of stories for children, and twenty years hence a morsel of fame, perhaps, when, like poor Johnson, I’m old and can’t enjoy it, solitary, and can’t share it, independent, and don’t need it. Well, I needn’t be a sour saint nor a selfish sinner, and, I dare say, old maids are very comfortable when they get used to it, but…” and there Jo sighed, as if the prospect was not inviting.
Americans, it seems to me, are afraid of independent women and even strong characters like Marge Simpson and Roseanne eventually bow down to their husbands, so I was disappointed but not surprised when Alcott not only married Jo off to the older Bhaer but made Bhaer, not Jo, the principal of Jo’s school.
Project Gutenberg has a generously illustrated version (here). The illustration above is “At nine they stopped work and sung as usual”, by Frank T Merrill (here).
That’s a scrappy review, I know, but I wanted to say something about it. Now I am listening to Julian Barnes’ Flaubert’s Parrot which is a fiction about an amateur Flaubert biographer – really just an excuse for talking about Flaubert, and about what we can say about writers – which I am finding both interesting and enjoyable, and about which I might write a similarly scrappy review. If I get time. And there’s the rub. I’m stuck in Melbourne. Again. After only one day home in Perth. Here, mum is in hospital after a hip replacement (she’s quite well thank you, though tired). B3 is down to see after her and picks me up from the truckstop in Dandenong each day when it’s clear there’ll be no work, and drives me up to mum’s hospital (Knox).
Meanwhile, back in Perth it’s all happening. Kim (Reading Matters) has just come from London to live and work; Nathan Hobby has handed in his PhD thesis* and is now facing the world as “full-time parent, part-time writer, part-time librarian”; and Jess White is visiting us for the launch of Hearing Maud. Hopefully I will shortly catch up with them all.
see also: Melanie/GTL’s recent post on US women’s comedy (here)
Katharina Hagena (F, Ger), The Taste of Apple Seeds (2013)
JD Robb (F, USA), Brotherhood in Death (2016)
JD Robb (F, USA), Apprentice in Death (2016)
Truman Capote (M, USA), The Grass Harp (1945)
Frank Herbert & Bill Ransom (M, USA), The Ascension Factor (2012)
Ann Barker (F, Eng), Ruined (2009)
Ben Bova (M, USA), Moonrise (1996)
Louisa M Alcott (F, USA), Little Women (1868)
Lisa Jackson (F, USA), Innocent by Association (1986) DNF – I stopped reading this book, and would advise you to never read this author, when the heroine was kidnapped and fell in love with her abductor. Why women authors advocate violence as a way of winning women is beyond me (in my own defence, I was expecting a crime thriller not a modern bodice ripper).
Eleanor Dark, Waterway
*Nathan Hobby: 100 word version of my thesis, sounding more scholarly than it is in reality: ‘Astir With Great Things’ is a biography of the early life to 1919 of Katharine Susannah Prichard (1883-1969), an Australian writer and political activist. Critically engaging with Prichard’s autobiography, Child of the Hurricane, the thesis builds a fuller account of her early life with archival material. The thesis narrates Prichard’s literary development and the writing of The Pioneers and Black Opal. Exploring Prichard’s political radicalisation against the backdrop of World War One, the thesis also considers the intertwining of Prichard’s personal life with writing and politics, including the effects of her father’s suicide and her brother’s death in the war.
New Oz Lit Fic: I can’t say I haven’t read any, but I haven’t read much. A situation I’ve ‘undertaken’ to Lisa (ANZLL) to do something about. My preferences can be covered by the words edgy, grunge, experimental, and leaving aside Gerald Murnane, I would say my favourite recent Australian was Elizabeth Tan’s Rubik, and before that The Natural Way of Things, Charlotte Wood and everything by Jane Rawson (here, here and here).
For the second weekend in a row I’m stuck in Melbourne and overnighting at Mum’s (during the week I wasn’t completely idle, though some of Dragan’s drivers were, I did a load of mining equipment to Roxby Downs (map) – a round trip of 2,800 kms according to my run sheet). So, using as my starting point a couple of Lisa’s lists of prize-winners (here, here), the Stella Longlist, and your reviews, I am making up a wish list of my own, which I will take down to my local indie bookshop.
And a couple of extras, in case I run into them in the shop:
Anything by Charlotte Wood before TNWoT
Salman Rushdie’s Haroun and the Sea of Stories, which WG (I think) recommended, for my grandson’s approaching birthday
What do you guys think? What have I missed (that fits my criteria)?
None of you has reviewed the Krissy Kneen. I enjoyed her earlier An Uncertain Grace and am tempted to put Wintering at the top of my list. Lisa I’m pretty sure would put Shell and numerous judges have put Boy Swallows Universe about which I am doubtful (on the basis of course of zero evidence).
Kate W where are you? I’d better check your Stella posts too. No, I’m afraid you didn’t persuade me on Little Gods.
I think I will make Pink Mountain on Locust Island my #2. Interestingly Kate (Booksaremyfavouriteandbest) and Kim (Reading Matters) make the same complaint about “nonsensical” similes, but Kate got me at:
I understand why readers are excited by Lau – her writing is expressive and commanding, with bizarre descriptions that have you re-reading and imagining –
Like many of you I follow Kim who covers English, Irish and Canadian Lit as well as Australian, Emma (Book Around the Corner) French and European, and Naomi (Consumed by Ink) Canadian. I am tempted by nearly every new book they review but #solittletime! And of course when I do run into these books as audiobooks, which are anyway mostly mainstream, I don’t connect back to the review. Case in point Herman Koch’s The Dinner. However I will add one US title reviewed by Melanie at Grab the Lapels because I am absolutely determined to read it ‘one day soon’.
And it’s only $1.00 on A*#@*# if I ever open an account.
Has weekend off, takes Mum shopping. How’d it turn out? I wrote most of the above Sat night. Today, Sunday I tried Eltham Bookshop which honestly I didn’t think was as good as its reviews. I looked at but bought neither Too Much Lip nor the prominently displayed Boy Swallows Universe. Bought a book for Gee because, well she’ll have a birthday eventually, and one for Mum. Then we went round to Warrandyte and had a much more fruitful time in the second hand shop there, not to mention a very nice lunch at Next/Door.
What I Actually Bought
Kath Engebretson, Red Dirt Odyssey (2016) for Mum
Nam Le, The Boat (2008)
Gerald Murnane, A Season on Earth (2019)
David Ireland, City of Women (hardback, dustjacket, 1st ed.)
Another present (One author. Stories from 1910-1920)
Christina Stead, The Little Hotel (hardback, dustjacket, 1st ed.)
Christina Stead, Ocean of Story
Elizabeth Jolley, An Accommodating Spouse
Elizabeth Jolley, Milk and Honey
Kim Mahood, Craft for a Dry Lake (memoir)
Bill Wannan ed., A Marcus Clarke Reader
William Burroughs, Junky
Judith Saxton (F, Eng), A Merry Mistress (2003) fictionalized life of Nell Gwynne
Jaqueline Winspear (F, Eng), Maisie Dobbs (2003)
Kurt Vonnegut (M, USA), Cat’s Cradle (1963)
John Steinbeck (M, USA), The Grapes of Wrath (1939)
Debra Webb (F, USA), Revenge (2013)
Amy Tan (F, USA), The Bonesetter’s Daughter (2003)
F. Paul Wilson (M, USA), The Dark at the End (2011)
Anne McCaffrey (F, Ire), Freedom’s Landing (1995)
Charles Willeford (M, USA), Miami Blues (1984)
Rob Shackleford, Traveller Inceptio (Australian new release ebook)
Haruki Murakami, What I Talk about when I Talk about Running
Thea Astley, Collected Stories (sitting neglected in the bottom of my backpack)
Currently reading on the net
Palmer Report (here). If you want to follow the inevitable collapse of the Trump presidency day by day, minute by minute, this is for you (and its slightly hysterical tone is part of its charm).
Mary Wollstonecraft, A Vindication of the Rights of Woman, 1792 (Project Gutenberg). No, I’m not really reading it but Brona has and discusses it in a must-read post (here) and she in turn references the ‘Vindication’ read-along on A Great Book Study (Intro, Week 1, Week 2, Week 3, Week 4 (Ruth @ AGBS doesn’t seem to provide links between her own posts)).
This is all deserving of a full post but in the meanwhile let me make a couple of notes so they don’t get lost:
1. Mary Wollstonecraft (1759-1797) was the mother of author Mary Shelley (Wiki).
2. I’ve always thought the major text first wave feminists like Catherine Helen Spence looked back to was JS Mills, The Subjection of Women, 1869 (Project Gutenberg). ” … the principle which regulates the existing social relations between the two sexes—the legal subordination of one sex to the other—is wrong in itself, and now one of the chief hindrances to human improvement …”
Sydney, the emerald city towards which all politicians, businessmen and other spivs naturally gravitate is little more than a fringe of high rises and multi million dollar mansions with Harbour or Ocean views. The rest, from inner suburban Glebe to the Blue Mountains, 4 million plus of Sydney’s official 5 million population, is the West, its heart Parramatta, these days a CBD in its own right, 20 km up river (map). And it is the West which is David Ireland’s home.
Reportedly born on a table in Lakemba (south-west Sydney) in 1927, Ireland grew up around Parramatta and was employed for a number of years at the Siverwater oil refinery, on the river downstream of Parramatta, and the setting for his most famous novel, The Unknown Industrial Prisoner. In another novel, The Glass Canoe, the protagonist discusses being good at school work but chucking it in to be with his mates. Interestingly, although it occupied most of his teen years, he does not seem to write about the War (WWII).
Over the last couple of years looking at early Australian women writers we have been building up an idea of the characteristics of each “generation” (see Gen 1, Gen 2). We’ll see later in the year that my Gen 3, which encompasses the 1920s through 1950s, is marked both by social realism and the last decades of white monoculturalism, although plenty of guys in particular stuck with the tropes of Gen 2 – nationalism, the Bush, mateship (and that is still true today), extending them into writing about the two World Wars.
It is often said that ‘the sixties’ didn’t arrive in Australia until the 1970s, but realistically they arrived and Gen 4 dates from, around 1966 or 67, with anti-Vietnam War protests, second wave feminism and the advent of multiculturalism following post war migration from southern Europe, dates in fact from the late teenage years of us Baby Boomers.
The relevance of this to Ireland is that he, like Thomas Keneally for instance, is too old to be a baby boomer but his writing mostly fits within Gen 4, though he does look back in his early work to a male, Anglo working class that by the time he began writing was coming to an end. Still it is very easy, reading his novels to think of Ireland as 20 years younger than he actually is. His novels are –
The Chantic Bird (1968) The Unknown Industrial Prisoner (1971) – Miles Franklin winner The Flesheaters (1972) Burn (1974) The Glass Canoe (1976) – Miles Franklin winner A Woman of the Future (1979) – Miles Franklin winner City of Women (1981) Archimedes and the Seagle (1984) Bloodfather (1987) The Chosen (1997) The World Repair Video Game (2015)
Over the course of 2019 I hope to write and/or collect reviews (from you!) for all Ireland’s novels, and of course to set up a page so that they are all accessible. Ireland is undoubtedly an important Australian writer and The Unknown Industrial Prisoner especially is one of our great books. For various reasons Ireland has become unpopular with readers and with publishers and his reputed right-wing politics may be part of this though I could find nothing through google. His most recent work The World Repair Video Game was eventually serialized and then published in hardback by Tasmania’s Island literary mag (who may still have copies on hand).
Ireland will be 92 this year. Is he still writing? You’d think not. But I suspect that 18 year gap after The Chosen contains more than one unpublished novel.
The Unknown Industrial Prisoner Lisa/ANZLL (here) Burn I found intolerably racist and could not finish. The Glass Canoe Lisa/ANZLL (here) A Woman of the Future (here) see Bonny Cassidy Sydney Review of Books (here) The World Repair Video Game (here) Lisa/ANZLL (here)
D. Musgrave, Post-Carnivalism in David Ireland’s The Unknown Industrial Prisoner, 2013 (pdf here)
The Conversation: The Case for David Ireland’s The Glass Canoe, Apr 2014 (here)
ABC podcast: The Renaissance of David Ireland, May 2015 (here)
SMH: The Return of David Ireland, Genius, May 2016 (here)
Aust Explained: The Glass Canoe, Sept 2016 (here)
J.Rank.org: David Ireland critical study (here)
Helen Daniel, Double Agent: David Ireland and His Work, Penguin, 1982
Ken Gelder, Atomic Fiction: The Novels of David Ireland UQP, 1993.
Do you remember this sentence from Seasons Greetings 2018 – “I’ve pulled my last trailer for Sam and Dragan.” Not! This other sentence – “I’ve already handed the truck over to a mechanic who has promised to set it up for the next million kilometres of its working life” is the clue. As is the way with engine rebuilds, one thing led to another, the price went up and up, and trailer buying has been pushed back a month or two.
Once the mechanic was finished I took the truck around the corner to a signwriter (a decal maker these days) with the results you see. Years ago, when paint jobs were free with new trucks Milly and I spent ages coming up with fancy colour schemes for the new Scania I never bought. These days, particularly in the West, most trucks are white, but one of the joys of ownership is being able to personalize your ride.
Anyway, I sat down last weekend with Sam and Dragan and we decided it made sense to go on a bit longer as we were, build up a bit of a backstop before I splashed all my cash on trailers. (I looked at finance, but the idea of releasing all that info into the wild filled me with horror). So here I am heading off to … Melbourne as it happened and now I’m on the way home.
The other thing I did over the break – apart from my quarterly and annual tax, isn’t that neverending?! – is I made myself a website, using WordPress, billhtrucking.com if you want to have a look. I used a totally new gmail account to set it up, but they still managed somehow to link back to theaustralianlegend. Don’t ask me how. I’ll use the site to issue posts, but only to advise clients, potential clients (and family) where I expect to be next; and really only as a device to maintain a list of trips done.
I also had a shot at using the ‘gallery’ option for photos, but I’m not really happy with it as it adds new pics at the bottom, rather than at the top where you would see them straight away. Still, WordPress were very helpful in getting me started and another chat with their help desk would probably get that fixed too (no they didn’t).
Thank you everyone for participating in AWW Gen 2 Week – readers, commenters, reviewers. Please note that Brona has done a second Ethel Turner review – The Story of a Baby – which I won’t be able to read for another day or so (sorry Brona).
Interestingly during the week, we didn’t discuss Barbara Baynton, Henry Handel Richardson, nor the period’s most popular books, My Brilliant Career and Seven Little Australians. But these have all been reviewed previously and I think that with the authors we did discuss this time we have gained a good idea of how women writers responded to the dominant trends – nationalism and bush realism – of the 90s.
The updated list of posts for the week is as follows:-
There’s plenty more on the AWW Gen 2 page, lots of old reviews, more background posts including two on Louise Mack by Sue and Lisa, and with many of the older books out of copyright, I have put links to downloadable text whenever I come across them.
Lisa (ANZLL) also did two posts on Catherine Helen Spence (here) (here) but as I already had entries for Spence on the AWW Gen 1 page, I took the easy option and linked them there.
Paullina Simons (F, USA), Red Leaves (2011)
Erica Spindler (F, USA), Triple Six (2016)
Stephanie Laurens (F, Eng), The Murder at Mandeville Hall (2018)
Brenda Niall (F, Aus), True North (2011)
EB North (F, USA), An Unseemly Wife (2014)
Caroll O’Connell (F, USA), Stone Angel (1997)
Louise Mack, Teens AS Patric, The Butcherbird Stories (2018)
Dave Warner, River of Salt (2019)
It is not clear even at the distance of more than a century whether Joseph Furphy (1843-1912) is one of our greatest writers, though he certainly wrote one of our greatest novels, Such is Life (1903) purportedly the memoir of time spent by Tom Collins, a minor NSW government official, with bullock drivers in the Riverina (southern NSW), “a classic which few were to read and no one was ever to establish clearly what it was all about.” (Manning Clark in Furphy’s ADB entry)
I have a first (and only, probably) edition of Miles Franklin’s Joseph Furphy, from now long-gone antiquarian book seller, Magpie’s, in Fremantle, originally belonging to a Paul Le Comte, “member W.A.H.S.” (WA Historical Society?) and including newspaper cuttings and – Emma and Lisa will like this – an information card for Furphy’s burial site in Perth’s Karrakatta Cemetery.
Franklin’s ‘Prefatory Note’ begins –
The time is not yet ripe for a definitive biography of Joseph Furphy. The Australian attitude toward biography opens the case for Mateship versus Modernity, and so far Mateship holds the pass. No frankly searching study of the lives of our prominent personages would be tolerated … because of the still lingering conventions of modesty and reticence by which British middle-class behavior was regulated until inhibition was loosened in the preliminary war of 1914-18.
Jill Roe (2008, p.388) thinks that Franklin is averting to the possibility of an affair between Furphy and Kate Baker (1861-1953), Franklin’s ‘collaborator’ in this work. The married Furphy and Baker, 18 years his junior, met in 1886 when Baker was teaching near Rushworth (in central Victoria). They became lifelong friends. Baker was important in encouraging Furphy to write, and after his death and her early retirement at 52 she did all she could to publicize and safeguard his work (ADB). By 1939, when she spent 5 months in Sydney with Franklin getting this biography underway, Baker was elderly and stone deaf and Franklin largely took over, so that the collaboration consisted of Franklin writing from the material Baker had collected over a lifetime.
Franklin was herself a Furphy fan and she and Furphy had exchanged complimentary letters and subsequently met, in 1904 (see also Such is Life, Abridged!).
It is sometimes stated that this biography won the 1944 Prior Prize, the year the book was published, but in fact Franklin won the 1939 Prior Prize for the essay Who was Joseph Furphy? which she dashed off after Baker had returned to Melbourne, though she shared the £100 with her (Franklin initially came second but the ms which beat her, MH Ellis’ biography of Governor Macquarie*, was belatedly judged to be insufficiently foot-noted).
Franklin begins at interesting point. After a brief ‘Furphian’ digression – one of the features of Such is Life is its flights down side alleys – on the development or otherwise of a distinctly Australian literature, she gives us Kate Baker, newly hatched school teacher, rushing to catch the train, and subsequently a coach and then a spring cart to the home of Isaac Furphy – brother of Joseph – and his family where she is to board for a year, before moving six miles to board another year at the home of Samuel and Mrs Furphy, Joseph’s parents, constantly inundated, by Joseph’s brothers and sisters and their children, by Joseph’s wife Leonie and their children, by everyone around except Joseph whom Kate finally meets only on the day of her departure.
When Joe began to talk he justified himself as the literary prodigy of the family. He was then forty-four, Kate Baker in her twenties.
Joe talked till 1.00 am, and again the following night. Then it was time to leave, and she asked him to visit her and her parents some time in Melbourne.
We then return conventionally to the beginning and Furphy’s surprisingly, almost Austenesque, literary home environment. Of his juvenilia Franklin writes:
A copy of “Childe Booth’s Pilgrimage” has been preserved. It bears traces of easy acquaintance with Scott, Longfellow, Homer, Byron, Burns, Moore and others. Written when the boy was between fourteen and fifteen years of age, it shows him in embryo the Furphy who in 1897 delivered of Such is Life.
Joseph was one of five brothers, and journals were kept by their mother of their writings, ballads and odes to lost loves. The Furphys had come out from Ireland in 1841, were employed and sometimes self-employed in various locations outside of Melbourne, including Kyneton where Joseph went to school. In 1868 they took up land, “Sand Hills”**, around Lake Cooper (map) in the names of Samuel (senior), Joseph and Isaac, building themselves homes which survived into the 1950s, and it is there that Kate Baker came to teach.
Today it is an inspiring sight to gaze from Mount Burramboot over the glowing plains which reach away to the blue distance for leagues on every side. In the foreground Lake Cooper and its satellites glisten like sapphires in a shield.
Joe’s selection lived up to it’s name and after five years he gave up, rented nearby while he tried a bit of gold prospecting, then with a wagon and bullocks, he uprooted his tiny, French wife and their children to follow him as a bullocky through the backblocks of NSW. His oldest son Felix, not a budding writer, who had command of Furphy’s second wagon wrote to his grandfather in 1883 –
I have no books hear but the third book and the story of the too dogs and father reads nothing but shakspere everybody carries books but they are yellow novels …
Older brother John, a blacksmith, had in the meanwhile set up the famous Furphy Foundry in Shepparton. When Joseph’s enterprise failed, due to drought and disease in the cattle, Leonie wrote home for help and a position was made for Joseph at the foundry. At last he had a settled home and could begin to write.
His first piece, “The Mythical Sundowner”, appeared in the Bulletin 5 Oct 1889, signed Warrigal Jack, though he later used Tom Collins, a “synonym for idle rumour” (as ‘Furphy’ was to become during WWI).
Over the next decade or so, he was engaged constantly, when he wasn’t working, in reading, writing, and researching, setting tasks for Kate Baker, and corresponding with fellow pedant and polymath William Cathels.
By 1897 he had an ms in want of a publisher. He wrote to the Bulletin seeking advice, and AG Stephens asked him to submit it to them – 1125 hand written pages. Furphy advised Stephens –
The plan of the book is not like any other that I know of – at least, I trust not. Also you will notice that a certain by-play in plot and éclaircissment is hidden from the philosophic narrator, however apparent to the matter of fact reader.
Stephens wrote at length to Furphy setting out in detail the economics of publication. First requirement was a typed copy and Furphy, fearful that a typist would bowdlerize his often profane masterpiece, purchased Shepparton’s third typewriter, taught himself to type, and knocked out a copy in … 12 months!
At his point in the book Franklin reproduces a great deal of (fascinating) correspondence. I find it interesting that both Stephens and Cathels, the first people to read and admire Such is Life, saw it as an idiosyncratic but essentially true-to-life account of Bush life, whereas I see it as one of the great works of Modernism, essentially about writing and language as Picasso’s work is about painting, not funny-looking women.
For three years the Bulletin prevaricated about publishing. It was a fine book, but much too long. They would bear a loss out of the goodness of their hearts. And so on. Furphy finally conceived the idea of excising two strands of the original, which would go on to be books in their own right, the novel Rigby’s Romance and the collection of stories which eventually became The Buln-Buln and the Brolga. Even so, correction, re-typing, illustration, proof reading dragged on through all of 1901 (when Miles Franklin’s own My Brilliant Career stole some of his thunder) and 1902.
Finally, in June 1903 Stephens wrote to Furphy that 2,000 copies had been printed and 500 bound, –
“… the book market is dead, have no hope of selling them for some time… Your whole affair is the curious instance of that dead and gone thing conscience. The book’s so good that it has got itself printed against foreknowledge and predestination absolute that it’ll have a darned slow sale. I mention this as a faint excuse for the shocking delays.”
Such is Life was finally released in August 1903 with an inappropriately floral cover, to mostly good reviews in Australia and adverse in Britain. Sales were poor, around 25 a month, making it impossible for the Bulletin to consider Rigby’s Romance. Furphy wrote a review of his own, concluding –
… the studied inconsecutiveness of the “memoirs” is made to mask coincidence and cross-purposes, sometimes too intricate.
In 1905 Furphy and his wife moved to Perth WA where their children were already established. They lived between the rail line and the sea, Cottesloe or Swanbourne. Between making their homes habitable, and surf bathing, he was fully occupied and after only little more than a decade, his writing career was at an end.
Rigby’s Romance was published in the Barrier Truth (Broken Hill) in 1905-6 and it was 15 years before Kate Baker could arrange to have it published as a book. Furphy died in 1912 without ever returning to see his friends in Melbourne, but maintained an active correspondence.
The last quarter of the biography is an analysis of Furphy’s work, including Miles’ frustration at Furphy’s inadequate depiction of women, ending with a discussion on the relative merits, and fame, of Ulysses, Such is Life and Remembrance of Times Past.
Miles Franklin, in association with Kate Barker, Joseph Furphy: The Legend of a Man and his Book, Angus & Robertson, Sydney, 1944.
Shane Maloney, Miles Franklin & Joseph Furphy, The Monthly, Sept 2009 (here)
Jill Roe, Stella Miles Franklin, Fourth Estate, Sydney, 2008
Such is Life is available from Text Classics in print (2013) and e-book.
*M. H. Ellis, Lachlan Macquarie: His Life, Adventures and Times – “after a fortnight’s examination, Ida [Leeson, Mitchell Library] declared the work undocumented and full of inaccuracies.” Franklin’s work was “elevated from ‘highly commended’ to first place, with a rider that entry No. 62 would have won had it been fully documented and the references checked.” From the NLA database it appears that Ellis’ work was published in stages from 1942 to 1952, and has since been reprinted.
**Googling ‘Sand Hills Furphy’ brings up directory entries which indicate that the family still farms there; a family reunion on May 25; and a death notice for Joseph’s mother.
This cutting fortuitously references not just Furphy but Mollie Skinner (see Writing the Boy in the Bush) who might come up again later in AWW Gen 2 Week