AustLit

'This article examines a range of colonial Australian Irish bushranger narratives in terms of their investments in revolutionary republicanism, arguing that these become increasingly contested and compromised over time. Beginning with the anonymously published novel Rebel Convicts (1858), it looks at how the fate of transported Irish revolutionaries is imagined in relation to colonial settlement and the convict system. It then turns to Ned Kelly’s Jerilderie Letter (c. 1879), highlighting Kelly’s rhetoric of resistance and mapping his affinities with Irish American republicanism. John Boyle O’Reilly was a Fenian activist, transported to Western Australia in 1867. His novel Moondyne (1878, 1879), rather than unleashing an Irish revolutionary political agenda, is based instead on an English-Catholic bushranger, and its interest in republicanism is in any case displaced from its Australian setting. Ned Kelly’s execution in 1880 gave rise to a new wave of popular narratives, including James Skipp Borlase’s The Iron-Clad Bushranger (1881), which fictionalises Kelly’s career – embroiling him in Irish Fenian plots – and recasts his political affiliations as criminal characteristics. Rolf Boldrewood’s Robbery Under Arms (1882–3) was also published in the wake of the Kelly saga but is notable for its political conservatism, stripping its Irish-Catholic bushrangers of their revolutionary potential to better serve the interests of a powerful pastoral elite. This conservatism is both challenged and magnified in Rosa Praed’s Outlaw and Lawmaker (1893), which celebrates the career of John Boyle O’Reilly while also re-directing his political radicalism into romance. The article concludes that the revolutionary figure of the Irish bushranger is gradually divorced from any radical agency and relegated to a remote chapter of colonial Australia’s history.'

Source: Abstract.

'From the arrival of Captain James Cook in 1770 to classic children's tale Dot and the Kangaroo, Ken Gelder and Rachael Weaver examine hunting narratives in novels, visual art and memoirs to discover how the kangaroo became a favourite quarry, a relished food source, an object of scientific fascination, and a source of violent conflict between settlers and Aboriginal people.

'The kangaroo hunt worked as a rite of passage and an expression of settler domination over native species and land. But it also enabled settlers to begin to comprehend the complexity of bush ecology, raising early concerns about species extinction and the need for conservation and the preservation of habitat.' (Publication summary)

' In Australia – and no doubt in other outposts of empire – hunting provided a rite of passage for ambitious young men to learn about local conditions and establish their colonial credentials. This article argues that the kangaroo hunt narrative therefore operated as a kind of colonial bildungsroman or novel of education. It examines three kangaroo hunt novels written by women who had in fact never travelled to Australia. The first is Sarah Porter’s Alfred Dudley; or, The Australian Settlers (1830). Porter’s novel shows that the kangaroo hunt is incompatible with the bourgeois sensibilities of an aspirant settler who revolts from ‘scenes of blood’. But other colonial bildungsromans invested in the adventure of hunting as a reward in itself. The second published kangaroo hunt novel is Sarah Bowdich Lee’s Adventures in Australia; or, the Wanderings of Captain Spencer in the Bush and the Wilds (1851); the third is Anne Bowman’s The Kangaroo Hunters; or, Adventures in the Bush (1858). Lee’s novel gives free play to the kangaroo hunt, exploring its possibilities for both Aboriginal and settler identities, while Bowman’s novel puts the kangaroo hunt into an ethical discussion of killing on the frontier. These British novelists imagine frontier experiences in colonial Australia by drawing on a range of Australian source material. Their novels present Australia as a testing ground for young male adventurers. The kangaroo hunt is their defining experience, something to survive and in some cases, finally, to disavow as they transition from emigrants to settlers.'

Source: Abstract.

'Since the beginnings of settler occupation in Australia, the kangaroo has been claimed at once as a national symbol and as a type of vermin to be destroyed en masse. In Kate Clere McIntyre and Michael McIntyre’s recent award-winning film, Kangaroo: A Love Hate Story, Sydney academic Peter Chen sums up this stark contradiction: “Kangaroos are wonderful, fuzzy, they’re maternal, and they’re also a pest that should be eliminated wholesale”.' (Introduction)

'Miles Franklin’s 1942 homage to Henry Lawson was the twentieth annual commemorative speech to this revered Australian author. Each year after his death admirers, family members and friends of Lawson would get together in Melbourne and Sydney to give speeches and celebrate his legacy. But the question of where to commentate him needed to be resolved. In 1927 the renowned local artist George W. Lambert submitted a model for a bronze statue of the author to the Henry Lawson Memorial Committee. Money was raised and the statue was commissioned: it shows a lithe Lawson in baggy trousers and rolled-up sleeves, possibly reciting to an audience, with a swagman sitting on one side and a sheep dog on the other.' (Introduction)

'Over the course of the nineteenth century a remarkable array of types appeared – and disappeared – in Australian literature: the swagman, the larrikin, the colonial detective, the bushranger, the “currency lass”, the squatter, and more. Some had a powerful influence on the colonies’ developing sense of identity; others were more ephemeral. But all had a role to play in shaping and reflecting the social and economic circumstances of life in the colonies.

'In Colonial Australian Fiction: Character Types, Social Formations and the Colonial Economy, Ken Gelder and Rachael Weaver explore the genres in which these characters flourished: the squatter novel, the bushranger adventure, colonial detective stories, the swagman’s yarn, the Australian girl’s romance. Authors as diverse as Catherine Helen Spence, Rosa Praed, Henry Kingsley, Anthony Trollope, Henry Lawson, Miles Franklin, Barbara Baynton, Rolf Boldrewood, Mary Fortune and Marcus Clarke were fascinated by colonial character types, and brought them vibrantly to life.

'As this book shows, colonial Australian character types are fluid, contradictory and often unpredictable. When we look closely, they have the potential to challenge our assumptions about fiction, genre and national identity.'

Source: Publisher's blurb.

'Crime fiction started early in Australia, emerging out of the experiences of transportation and the convict system at the beginning of the nineteenth century. The first Australian (that is, locally published) novel is generally agreed to be Quintus Servinton (1832), written by Henry Savery, a convicted forger who was transported to Van Diemen’s Land (Tasmania) in 1825 and—convicted once more of forging financial documents—died as a prisoner in Port Arthur in 1842. Quintus Servinton is a kind of semi-autobiographical fantasy that imagines its entrepreneurial protagonist’s redemption: surviving his conviction and jail sentence in order to return to England with his beloved wife. We can note here that it does four important things in terms of the future of crime narratives in Australia. Firstly, it presents colonial Australia as a place already defined by an apparatus of policing, legal systems and governance, where ‘justice’ can at least potentially work to restore an individual’s status and liberty: for example, through convict emancipation. Secondly, it insists that the experience of incarceration and punishment is crucial to that character’s reintegration into respectable life: ‘the stains that had marked him’, we are told, ‘were removed by the discipline he had been made to endure’ (Savery, vol. 3, ch. XIII, n.p.). Thirdly, the novel ties the colonial economy to financial investment and growth on the one hand, and fraud or forgery on the other. These apparent opposites are folded together at the moment of settlement to the extent that the phrase ‘forging the colonial economy’ is a kind of potent double entendre. Prominent transported forgers included the colonial artists Thomas Whatling (transported 1791), Joseph Lycett (transported 1814), Thomas Wainewright (transported 1837) and of course Henry Savery himself. In Savery’s novel, Quintus Servinton is ‘thunderstruck’ when someone explains the conventional distinction between legitimate financial deals and forgeries: ‘You surely do not mean, Sir, it can be a forgery, to issue paper bearing the names of persons who never existed….If that be the case…many commercial men innocently issue forgeries every day of their lives’ (vol. 1, ch. III, n.p.). This takes us to the fourth point: that crime fiction in Australia is also about imposture, where characters do indeed adopt ‘the names of persons who never existed’. The mutability of colonial characters—the question of how real (authentic) or fictional (fraudulent) they might be, and the impacts this has socially and fiscally on the colonial scene—soon becomes a tremendous problem for emergent systems of policing and governance in Australia. As Janet C. Myers notes, ‘the linkage between emigration and crime forged through convict transportation continued to evoke anxieties….The atmosphere in which such anxieties were nurtured was one of rapid social mobility and shifting identities in the Antipodes’ (2009, p. 83).' (Introduction)

'Popular fiction is an immense but nonetheless distinctive literary field and, rather like literary fiction—to which it is often contrasted—it has its representative authors, those who seem to encapsulate everything that gives that field definition. The American writer James Patterson is a good contemporary example. Patterson has published around 100 novels since 1976: high, regular output in a popular genre (detective fiction, for example) is one measurement of this particular field’s good health. It also helps if an author sells a lot of copies, assisted by some aggressive and effective publicity and distribution; something that has in fact been a feature of the popular fictional field for some considerable time. Perhaps unsurprisingly, Patterson is also an experienced and successful advertising executive ‘who knows a thing or two about branding’ (Wood 2009). Literary fiction can sometimes sell very well indeed, of course, but popular fiction can lay immediate claim to large chunks of the fictional marketplace. ‘Of all the hardcover fiction sold in the U.S. in 2013,’ an article in Vanity Fair tells us, ‘books by Patterson accounted for one out of every 26.’ This article goes on to speak of a ‘global thriller industry’ and characterises Patterson as ‘the Henry Ford of books’ (Purdum 2015). The New York Times Magazine similarly notes that since 2006 ‘one out of every 17 novels bought in the United States was written by James Patterson’; it calls him ‘James Patterson Inc.’ as if, in the world of popular fiction, author and company can seem to be one and the same thing (Mahler 2010). Literary fiction, by contrast, is rarely if ever regarded as a matter of industrial or corporate production.' (Introduction)

'This book brings together new contributions in Popular Fiction Studies, giving us a vivid sense of new directions in analysis and focus. It looks into the histories of popular genres such as the amatory novel, imperial romance, the western, Australian detective fiction, Whitechapel Gothic novels, the British spy thriller, Japanese mysteries, the 'new weird', fantasy, girl hero action novels and Quebecois science fiction. It also examines the production, reproduction and distribution of popular fiction as it carves out space for itself in transnational marketplaces and across different media entertainment systems; and it discusses the careers of popular authors and the various investments in popular fiction by readers and fans. This book will be indispensable for anyone with a serious interest in this prolific but highly distinctive literary field.' (Publication summary)

'The first decade after Federation saw the establishment of a significant number of new Australian literary journals and magazines, some of which defined themselves against mainstream literary interests – against the Bulletin, for example. What we see here is in fact a splintering of literary activity across a number of journals that fragments (or perhaps continues to fragment) any received sense of what constitutes a national literature. This paper looks at three of Thomas C. Lothian’s Melbourne journals - the Native Companion (January - December 1907), Trident (May 1907 – April 1909) and Heart of the Rose (December 1907 – October 1908) – and also briefly discusses Alfred Dickson and Frank Wilmot’s The Microbe, and Hal Stone and the ‘Waysider’ group’s Ye Kangaroo (1902 –1905), Ye Wayside Goose (1905 – 1906) and Red Ant (1912), also mostly Melbourne-based.

'The Native Companion in particular nourished an early feminine modernist aesthetic: publishing Katharine Mansfield’s first short stories, first example, and providing space for a coterie of women writers who specialised in the ‘vignette’: a narrative form that contrasted to male-centred bush nationalisms of the ‘sketch’. Like the Trident and Heart of the Rose, this journal was caught somewhere in between the influences of fin-de-siècle decadence and newly emergent European modernism; its interest in international avant-garde literary aesthetics worked to stretch modernism into the antipodes, sometimes casting it as a kind of free-floating literary effect. Heart of the Rose presented translations of Paul Verlaine and essays on Baudelaire; but it also charted local, vernacular versions of these influences, offering up delirious visions of what a trans-national, trans-historical Australian literature might be.

'The Microbe and Hal Stone’s journals celebrated an amateur literary status that allowed them to satirise the Bulletin’s claim on Australian literary tastes. They also turned to the ‘vignette’, and played out the influences of European symbolism and nascent modernism; but they satirised the pretentions of journals like Heart of the Rose and never invested in a representative canon of writers. Together, these little magazines present an alternative literary scene that tried to re-imagine the ideals of a national literature even as they radically distinguished themselves from the mainstream.' (Publication abstract)