Literary Studies

This book is a collection of papers from the first Aboriginal Writer’s Conference, held at Murdoch University in February 1983. Despite the long (unexplained) lapse between the conference and the appearance of this book, the papers raise a number of urgent and complex problems, for writers and commentators.

John Docker has written an entertaining if uneven book on the history and politics of literary criticism in Australia. The subtitle of the book, ‘Struggles for control of Australian literature-then and now!’ along with the Pop Art cover, gives an indication of his combative and slightly melodramatic approach. The book is, however, extremely important and something of a landmark. It presents a broad overview of the institution of literary criticism and its teaching in Australia, especially during the 1950s and 1960s. It discusses the political implications of various critical methods, and draws attention to some of the wider social and political ramifications of what occurs in the English departments of tertiary institutions. There is also discussion of the work of individual writers such as Katharine Susannah Prichard and James McAuley. As Humphrey McQueen writes in the foreword to the book, ‘His work also deserves the attention of people whose first area of interest is not literary criticism, for example, anthropologists, historians and political scientists.’

Ian Donaldson’s The Rapes of Lucretia is a book so rich in ideas that a review can only be unfairly perfunctory. It starts from ancient accounts of the rape of Lucretia and tracks the transformations of the myth through two millennia. This is no wearisome catalogue, no tedious grinding of PhD mills. Donaldson is, as he puts it, ‘especially interested in the close relationship that may exist between the creative and the philosophical processes of mind; between art and argument’. What emerges is a sturdy contribution to the history of ideas, a book showing how a myth which sustained Roman ideas of heroism and political liberty was used at different periods of history to reflect and embody changing political and sexual ideas.

From August 1978 through January 1979 I read the complete fiction of Christina Stead, as well as those of her critical writings I could locate. A writing career of more than forty years consumed by a voracious reader in six months! I trust that I was as scrupulous and sympathetic a reader as Christina Stead is an ethically and technically scrupulous, sympathetic novelist.

Christina Stead can take comfort, if such were to give comfort and if comfort were what she needed, that the publication of a reader of extracts from her work must signify that she is established not only on the reading lists of our universities – a dubious honour she has had for some time – but also, I presume, in our high schools. I cannot imagine who else this sort of book can possibly be aimed at. Perhaps at people who want to appear to have read Christina Stead but do not relish the work of reading her admittedly lengthy novels. In which case they deserve all that they miss. Is the next step towards the heights of literary honour to be, like Dickens, condensed? Our school children, at any rate, deserve better. Christina Stead certainly does.

‘“No good dad,” he used to remark hopelessly, “people’ll say that you were dragged up.”’ In this way, Furphy records his son’s response to Such is Life. Furphy, in his own review of his own novel expressed a different view. ‘There is interest, if not relevancy in every sentence ... beyond all other Australian writers. Tom Collins is a master of idiom ... Originality is a characteristic of Such is Life ...’ However much he had his tongue in his cheek, Dad was of course right, as a rereading of the novel in John Barnes’s Portable Furphy will prove. The novel is ‘a classic’ as Stephens recognised, even if he did throw in his each-way bet of, ‘or a semi-classic’. Barnes has included all of Such is Life (in a photo facsimile of the original edition, which does make one long for larger type and more spacious layout, but makes possible an interesting collection of Furphy’s other writings in a comparatively small volume).

Literary theory is in for an exciting time in Australia. While the Leavisites in the older English departments were wondering what happened to the British ‘Great Tradition’, literary studies went General and Comparative in the 1960s, establishing a fertile context for the development of genuine theoretical developments such as those brought about by the encounter with structuralism, phenomenology and Marxism.

Exiles at Home is a fascinating work by a feminist of the 1970s about a group of anti-fascist feminists of the 1920s and 1930s. From it we learn as much about the world view of the author as we do about the politics of its subjects. A serious book, about serious writers, it examines novels for their historical rather than for their literary interest. It offers no real criticism of writing styles, and no comparison with modem feminist authors. Nor is it a book to be read in the hope of rediscovering almost forgotten characters from our literary past.

How, not being an anthropologist, do you set about reviewing tales and fragments of experience from Aboriginals of the Kimberleys? You might begin by stating your difficulties.

People like me can usually establish some kind of empathetic link with the arts and traditions of many cultures. If we cannot feel our way into them, at least we can derive intellectual pleasure from contemplating them: as a rule there is some point of contact, although to us, of the western heritage, nothing can ever be as real as what belongs to the family of Hellenism. I can ‘make something’ of Hindu sculpture, Inca masks, Negro jazz; perhaps even of shamanic spells.

In a world which has lost its faith and its standards, the situation of the creative artist is both central and precarious. As Wallace­-Crabbe sees it, he must stand inside and outside society at once, be both totally involved with himself and totally responsive to his society. While doing this, he must create not only his own audience but even his own language.

In this series of essays, Wallace-Crabbe explores this dilemma in the work of contemporary English-language poets ranging from Thomas Hardy to Elizabeth Bishop, and from W. H. Auden – ‘the good Christian practices light verse’ – to Robert Lowell and Ezra Pound. The essays both illuminate the work of the writers he discusses and contribute to our understanding of the crucial problem of contemporary culture.