Eleanor Dark’s Juvenilia (Review)

Eleanor Dark's Juvenilia

Courtesy: Juvenilia Press

Eleanor Dark was quite a star in Australia’s literary firmament of the 1930s to 1950s, and has left an important legacy, not only in her most famous book The timeless land but also in the fact that her home Varuna in the Blue Mountains is now one of Australia’s most significant and loved writers’ retreats. It’s therefore wonderful that the Juvenilia Press was able to produce a book on her early work.

Unlike the Press’s volume on Mary Grant Bruce, which comprises works that push their definition of juvenilia, Eleanor Dark’s Juvenilia fits clearly within their guidelines. All pieces were written between 1916 and 1919, when Dark was 15 to 18 years old. Like the Bruce volume, it was edited by secondary school students and their teacher, rather than the Press’s more usual practice of using tertiary students. (The Press is a teaching press). The decision to use secondary school students is particularly appropriate for this volume as the students come from the school, Redlands, which Dark attended, in her childhood name of Pixie O’Reilly. Research for the volume included the school’s own archives, and all the pieces come from the school magazine, The Redlander. A Foundation Day speech given by the (then) school’s archivist, Marguerite Gillezau, is one of the appendices.

Like other Juvenilia Press editions, this book includes useful extra matter such as Pixie O’Reilly’s school report! There is, too, an introduction, this one titled “Pixie to Eleanor: From a spark to a flame”. It is creatively, and entertainingly, organised under headings taken from the school report – “Making fair progress”, “Very promising indeed”, and so on. The volume is also illustrated with photographs and other images from Dark’s school days – and there is also the list of references consulted.

As with most juvenilia, the pieces here provide an insight not only into the author’s childhood but also into the passions and interests they’ll develop later. Dark went to Redlands school in 1914 (an auspicious year) after her mother died. Although it was a girl’s school – why do I say “although”? – the school did not seclude its students. Indeed the school archivist in her Foundation Day speech said that, since its establishment in 1884, the school “has been aware of the world outside its front gates”, including war. One of Dark’s pieces in this volume is a poem about the First World War, “Jerusalem set free”.

For those of you who don’t know Dark, she and her husband were politically radical – or – socialist in leaning, something for which they were often persecuted. Not having read biographies of her, I cannot say how much of this may have come from the family, but the Introduction says that one writer on Dark, Marivic Wyndham, stresses the importance of the school’s ethos on her development. Wyndham writes that the school provided her “not only with flesh-and-blood models of the new woman and the radical intellectual she eventually adopted, but also with models of community and sisterhood that later featured prominently in her vision of a ‘good society'”.

These values are evident in the piece most dear to my heart, “The Gum Tree’s Story”. I loved this little 2-page piece for three reasons: it contains delightful descriptions of Australian flora; it contains a story-within-a-story about that Australian archetype, “the lost child in the bush”; and it’s an allegory about inclusion rather than exclusion. The story concerns Waratah who wants to organise a party to enliven his drooping companions but wishes to exclude the interloper White Rose. (Is it girlish, that the Rose is white not red, do you think?).

The other story in the volume – there are two stories and four poems – encompasses another theme common to classic Australian literature, the bushranger. Titled “‘Thunderbolt’s’ Discovery”, it tells of young boys on a picnic who play bushrangers – Australian readers will be aware that Captain Thunderbolt was a famous bushranger – and come across an unconscious man who, they imagine, is a bushranger. What I love in this is her description of the bush:

It was very deep in the bush. A clear stream trickled down over the rocks, and there was the faint bush smell of damp earth and fallen gum leaves. Maiden-hair grew thickly, and clumps of pale wide violets and pretty, delicate ferns. Where the stream was at its wildest a huge old tree had fallen across it, and the damp bark was covered with soft green moss. Further up the hillside flannel-flowers and Christmas bells grew among the tall bulrushes, and Christmas bush was already nearly in full bloom.

Dark, it is clear from this and “The Gum Tree’s Story” knew her botany – but I think she evokes it well too, without going overboard as young writers can do.

The four poems speak to different aspects of Dark’s girlhood – from the war to hatred of exams. They show someone comfortable with language and with expressing ideas through them. They also show an ability to mix tone, to work in the serious and the light, in the grand and the more personal, in the fanciful and the real.

Not everyone, I know, enjoys Juvenilia but I am thoroughly enjoying these texts, and the insight they provide into the writers to come. I look forward to telling you about the next one in, hopefully, a month or so.

awwchallenge2014Eleanor Dark
(ed. Jane Sloan with students from Redlands, Sydney)
Eleanor Dark’s Juvenilia
Sydney: Juvenilia Press, 2013
ISBN: 9780733433733

* The book only costs $12 plus postage, from the Press.

My previous posts on the Juvenilia Press are: Monday Musings and Mary Grant Bruce.

15 thoughts on “Eleanor Dark’s Juvenilia (Review)

  1. I would love to buy a copy of Eleanor Dark’s Juvenilia for my teenage granddaughter, who is a budding writer. But it seems not to be possible to order and pay online from the the publisher’s website. Very annoying!

    • Hi Teresa … Yes their website is very lo-tech I agree. It doesn’t help their desire to get their publications out there. I suggest you email the overall editor, Christine Alexander. I think her email is on the website … I’m holidaying in a Singapore and using free wi-fi at a cafe so don’t have time to check. The press also has a Facebook page … You could comment there too of you are on FB.

  2. Just now exchanging introductory letters with a kinswoman who is descended from the family of Ben HALL. I’ve lobbed back a kinship connection to Harry READFORD (part model for BOLDREWOOD’s “Captain Starlight”. Earlier this year up and and back along Thunderbolt’s Way (Gloucester to Inverell) – how interesting to read this review of Eleanor DARK (Pixie O’REILLY) and her “Juvenilia”! Thanks!

  3. How come so many writers actually left juvenilia behind to be found and published ? Was it their parents being dead keen, to start with; and then they found their parents’ stashes ? its’ a mystery to me …

    • Very good question, MR. With Jane Austen, it was mainly her sister. In Dark’s case here, the works were from a school magazine …

      Meanwhile, I’m ready for my children’s fame should it ever happen … Like most Mums, as you imply, I’ve kept “stuff”.

  4. What fun. Though if Dark were still alive she might be a bit embarrassed. I am sure you own children are comforted to know you have save things 😉 But it is really neat that the students from her old school did the editing. What an experience!

    • Thanks Stefanie … Yes, I reckon it would gave been a great experience for those students. I reckon I would have leapt at the chance if I’d been given the opportunity.

  5. Hello to you all. I was directed to this wonderful blog by a colleague.

    As someone who works in the field of juvenilia, I always enjoy seeing it promoted outside of the academy.

    To attempt to answer the question of why there is often juvenilia extant – the reasons are as varied as the genres in which the young authors write. Some write to mimic their favourite authors, as was the case for George Eliot who was spurred to write by Walter Scott’s publication of “Waverley” (her narrative “Edward Neville”, written at the age of fourteen, is available through the Juvenilia Press). Another reason is that children wrote/write to create their own worlds, devoid of adult interference, this is seen in the juvenilia of the Brontë’s. Another reason is that it is/was produced as family entertainment – this is the case for the Anglo-Irish writer Maria Edgeworth, whose juvenilia drama “The Double Disguise” was written to be performed at Christmas in 1786. It just turned out that this early work proved seminal to the later writer she would become. And by way of a shameless plug, Edgeworth’s “The Double Disguise” will soon to be published for the first time through the Juvenilia Press. I could go on, but I just wanted to say that I really enjoyed reading the blog and responses to what is an often forgotten area of authorship!

    • Thanks Ryan, I really appreciate your responding here and filling us in with more info about Juvenilia. As an Austen fan, I’ve been aware for a long time of her juvenilia, but wasn’t aware of the wealth of juvenilia that is apparently around. I’ll look out for Maria Edgeworth’s book. I did enjoy her Castle Rackrent. (BTW, I notice that you are at Macquarie University. I did my BA there, majoring in English literature – but a long time ago. I have fond memories).

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