The previous chapter revealed how, in the early 1930s, Norton's publication of Henry Handel Richardson s Ultima Thule and the Fortunes of Richard Mahony trilogy brought Australia and its literature "deep into the consciousness of reading America' The impact of Richardson's novels was strengthened by the appearance of Katharine Susannah Prichard's Coonardoo in 1930 from the same publisher. Richardson's and Prichard's novels were in fact part of a longer sequence of ambitious Australian works published in the United States from the late 1920s to the mid 1940s. In contrast to the decline in the number of Australian novels published in America across the first three decades of the twentieth century, at the very end of the 1920s we begin to see a cluster of substantial novels appearing together - and being brought together by reviewers. Fiction publishing in general in the United States grew rapidly from a low point in 1919 to a peak in 1929; the number of titles dipped slightly through the Depression years but high levels continued until the early forties. Against this background, the pattern of publication and increased receptivity for Australian novels was sustained until the mid-forties, but with little continuity into the postwar years when many writers had, in effect, to begin again in establishing the viability of Australian work in the American marketplace. There is, then, a relatively discrete historical trajectory across the two decades from the late twenties, emerging from almost nothing and collapsing in the later forties as both cultural and industrial circumstances change.' (Introduction)

'From the late 1920s to the early 1940s, American reviewers were often compelled to remark on the increasing presence of Australian books and authors in the American marketplace. The publication in short succession of Henry Handel Richardson's The Fortunes of Richard Mahony trilogy (1929-30) and Katharine Susannah Prichard's Working Bullocks (1927) and Coonardoo (1930) appeared to announce Australia's literary coming of age: "Australia at last seems to have become articulate, when in so short a space of time it can produce such books as Henry Handel Richardson's Ultima Thule, Miss Prichard's own Working Bullocks and this fine story of white codes and primitive codes mixed and never fusing [Coonardoo]"; "Australia is taking her place as an important contributor to English letters ... It is no longer possible to ignore that country's claim to a definite attention") By comparison to the authors discussed in the previous chapter, Richardson and Prichard together could draw attention, not just to individual hooks by Australian authors, but to works of literature about Australia and hence to the idea of Australian literature itself. As one US reviewer put it, Ultima Thule had "brought the Australian country into the deep consciousness of reading America" and Coonardoo promised to do the same. Another concluded that "those who maintain that no literature comes out of Australia are beginning to revise their opinions as each new book is announced by Henry Handel Richardson, Katherine Susannah Pritchard [sic] and Dorothy Cottrel [sic]".' (Introduction)

'The first three decades of the twentieth century present no clear pattern for the publication of Australian novels in the United States outside the serial relationships with publishers that certain genre writers were able to achieve. Otherwise, in all but a few cases, we see one-off or occasional publishing, with few signs of sustained investment in individual authors and even less in Australian books per se. Towards the end of the period, however, the situation changes quite suddenly with the enormous critical and sales success of Henry Handel Richardson's Ultima Palk in 1929, followed the year after by Katharine Susannah Prichard's Coonardoo, and these two authors will be the subject of Chapter 6. The present chapter surveys the presence in the American marketplace of Australian writers working in the broad field of commercial fiction but outside the popular genres of crime, mystery and women's romance. It examines the obstacles and opportunities for Australian authors and stories in America in these decades after the passing of international copyright legislation in the United States and as the structures of the modem, twentieth-century US publishing industry were set in place.'  (Introduction)