AustLit

'First published in 1923, The Incredible Journey tells the story of Iliapa, an Aboriginal woman, who embarks on a long, arduous journey through the Australian outback in search of her son after he is abducted by a white man. Catherine Martin said that she wrote this novel 'in order to put on record, as faithfully as possible, the heroic love and devotion of a black woman when robbed of her child'.'

'The novel presents a vivid picture of the Aboriginal people (viewed through the eyes of a white novelist), their culture, their dispossession and, in particular, this abhorrent white practice of taking Aboriginal children away from their parents.' (Source: Goodreads website)

Rigby's Romance is a revised and expanded version of the original chapter five in the Such is Life typescript (1898).

The narrator, Tom Collins, is on his way from Echuca to Yooringa to fulfil a contract to clear a Riverina run of cattle. Hoping to meet his old friend, Jefferson Rigby, Collins is surprised by an encounter with Rigby's former sweetheart, Kate Vanderdecken, who has come to Australia in search of Rigby. Collins arranges an introduction before heading to the banks of the Murray River to fish for a thirty-pound cod he has heard is in the area. He is joined by the bullockies Steve Thompson and Robert Dixon, characters from Such is Life, and several others: a kangaroo-hunter named Smith; a trapper named Furlong; a farmer named Binney and his brother-in-law, the Methodist minister Harold Lushington; and, eventually, Rigby himself. Like The Buln-buln and the Brolga, Rigby's Romance involves a series of yarns told in different styles about politics, ethics, religion and law. All hinge in some way on failed love affairs, but, as is his way, Rigby's love story about a local German publican soon evolves into a long sermon on Christian socialism, and he forgets about the appointment he has made with Kate Vanderdecken.

Furphy expressed a preference for Rigby's Romance later in life. Like The Buln-buln and the Brolga, it can be read as an independent work. In revision, Furphy changed the narrative in significant ways, particularly in his expansion of Rigby's sermons on state socialism. In other cases, he probably transferred text from the original chapter two to fill in details at the beginning of the novel. And so, despite its independence as a work, Rigby's Romance retains many cross-references to the larger original work, most notably the presence of Tom Collins as an unreliable narrator.

'Bush Studies is famous for its stark realism—for not romanticising bush life, instead showing all its bleakness and harshness.

'Economic of style, influenced by the great nineteenth-century Russian novelists, Barbara Baynton’s short-story collection presents the Australian bush as dangerous and isolating for the women who inhabit it.' (Publication summary : Text Classics)

Arguably the most popular book of poetry ever produced in Australia, The Songs of a Sentimental Bloke was first published in October 1915. Its success was immediate and unprecedented for a book of Australian verse. The first edition of 2,480 copies sold out within weeks, and by the end of February 1916 the book had reached a fifth impression and was still selling well. Tongue firmly in cheek, C. J. Dennis informed his publishers Angus and Robertson that the work's 'success [was] becoming monotonous'. There was more monotony to come, however: the book sold more than 100,000 copies in the first five years after its publication, and was rarely out of print in Dennis's lifetime. Added to this, there were film, stage, and musical versions of the work, as well as recitals given by popular entertainers. In many respects, 'The Sentimental Bloke' became a phenomenon of popular culture that took on a life of its own.

Dennis later claimed that the idea for 'The Sentimental Bloke' came from a 'racy' young man from Melbourne he had met in Toolangi. According to Dennis' wife Margaret Herron, the young man had fallen in love with a farmer's daughter, but the farmer disapproved and forbade her from having anything to do with him. The Melbourne man was said to have complained to Dennis, 'what sort of bloke do they think I am? Blimey, anyone would think I was a crook! Ain't a bloke got sisters of his own?' In Dennis's imagination, this frustrated love affair eventually became a story in which a tough, streetwise young larrikin gives up his dissolute ways for domestic happiness with his sweetheart. A crucial factor in the success of Dennis's 'Sentimental Bloke' verse was that it was narrated from the point of view of 'the Bloke', employing a slang idiom appropriate to the character. In his correspondence with his publishers, Dennis noted that 'the stuff, while not having any considerable literary merit, is, I believe, extremely popular'.

According to Dennis' wife, The Glugs of Gosh had originated as verse penned to 'amuse' Barry Roberts, the younger son of Dennis' friends and patrons, Garry and Roberta Roberts. The Roberts' presentation copy of the eventual work is annotated 'B. J. Roberts - Sep. 1917 / For whom 'Joi the Glug' was written on 23.6.1914'. In 1915, Dennis saw fit to expand the idea for a wider audience. Six of the thirteen poems in The Glugs of Gosh (and part of a seventh), were published in the Bulletin, the first being 'Joi, the Glug', which appeared on 3 June 1915.

After the extraordinary success of The Songs of a Sentimental Bloke, Angus and Robertson were evidently keen to test the limits of Dennis' popularity, and he was commissioned to expand his 'Glugs' series as a book. Dennis' wife wrote that the couple were married (July 1917) after the completion of the book, and that shortly thereafter they travelled to Sydney and met Dennis' publisher George Robertson, and The Glugs of Gosh went to press. Dennis dedicated the work to his wife.

Angus and Robertson published The Glugs of Gosh in a variety of different editions. The ordinary edition was priced at Four Shillings, as was the 'Pocket Edition for the Trenches' - which hoped to capitalise on the wartime popularity of Dennis' earlier works. The Glugs of Gosh was not a commercial success, however. The deluxe 'Blue Wren' edition initially published by Angus and Robertson at Seven Shillings and Sixpence was eventually remaindered at Sixpence a copy, and an edition that had been advertised for publication in North America (as The Stones of Gosh) was apparently never issued. In 1974, an abridged version of The Glugs of Gosh, containing two poems from the original work arranged as a continuous narrative, was published as a children's book.

The Buln-buln and the Brolga is a long story that is a revised and expanded version of the second chapter of the original Such is Life. The action takes place in the township of Echuca where the narrator, Tom Collins, is waiting to meet a representative of the firm for which he works. While waiting for his associate to arrive, Collins meets a childhood friend, Fred Falkland-Pritchard, the titular buln-buln or lyrebird, so-called because of his reputation for lying. Tom also meets Barefooted Bob, the titular brolga. The three spend an evening together with Fred's wife, and the two swap yarns. Fred's yarns get taller and taller, but Bob accepts them as the truth, as Fred's wife has done throughout their marriage. Bob tells stories of violent encounters with Aboriginal people on the frontier, delivered with a bluntness that intrigues Mrs Falkland-Pritchard. The story can stand on its own as a study of an individual's perception of reality, specifically the fiction of reality or the reality of fiction. But it retains intriguing links to its original version in the typescript, made even more so by Furphy's methods of transferring sections of text during revision.

Such is Life: Being Certain Extracts from the Diary of Tom Collins. Joseph Furphy's title gives an indication of the complexity of the narrative that will unravel before a persistent reader. In chapter one, the narrator, Tom Collins, joins a group of bullockies to camp for the night a few miles from Runnymede Station. Their conversations reveal many of the issues that arise throughout the rest of the novel: the ownership of, or control of access to, pasture; ideas of providence, fate and superstition; and a concern for federation that flows into descriptions of the coming Australian in later chapters. Each of the characters provides a portrait of bush types that Furphy uses to measure the qualities of squatters and others against popular ideas of the 'gentleman'. Furphy's choice of a narrative structure to create a 'loosely federated' series of yarns is itself a critique of popular narratives populated by stock characters who are driven by action that leads to predictable and uncomplicated conclusions. Tom Collins, the unreliable narrator, adds further complications by claiming to 'read men like signboards' while all the time being unknowingly contradicted by circumstances that become obvious to the reader.

In each subsequent chapter Tom Collins leads the reader through a series of experiences chosen from his diaries. In chapter two, Collins meets the boundary rider Rory O'Halloran and his daughter, Mary, a symbol of the coming Australian whose devotion to her father will have tragic consequences in chapter five. There are many links between chapters like this one that remain invisible to Collins, despite his attempts to understand the 'controlling alternatives' that affect our lives. In chapter three Tom loses his clothes crossing the Murray River and spends the night wandering naked until he is able to steal a pair of pants after diverting attention by setting fire to a haystack. In chapter four Collins helps an ailing Warrigal Alf by deceiving several boundary riders who have impounded Alf's bullocks. In chapter five, among other yarns of lost children, Thompson completes the tragic tale of Mary O'Halloran, connecting with the events of chapter two. Chapters six and seven take Tom Collins back to Runnymede Station where he attempts to avoid an unwelcome union with Maud Beaudesart. He also meets the disfigured boundary rider, Nosey Alf, whose life story Furphy has threaded throughout the narrative, signs not perceived by Tom Collins. When Collins returns to Runnymede at the end of the novel, Furphy ties up more loose narrative threads, but Tom Collins, the narrator, remains oblivious to the end.

In short, Such Is Life 'reflects the preoccupations of [the 1890s]: contemporary capitalism, ardent Australian nationalism, the difficulties of pioneering pastoralism, and speculation about a future Australian civilization. It was instantly seen as a major example of the "radical nationalism" of the time and praised for its realistic representation of life on the frontier in the 1880s. But it was forty years before many readers realized that the novel was also a subtle comment on fiction itself and that within it were hidden stories that revealed a world of "romance" within its "realist" representation of life. Such Is Life can be read as the first experimental novel in Australian literature and the first Australian literary expression of a twentieth-century sensibility of the provisionality of life and reality.' (Julian Croft, 'Joseph Furphy.' in Dictionary of Literary Biography Vol. 230.)