Continuing my 1922-themed posts, it became clear as I delved into Trove that certain genres or forms kept recurring in the reviews and articles I was reading about Australian literature. I plan to share them over the next few 1922 posts, starting with adventure in this post.
You might remember that my first 1922-themed post was on the N.S.W. Bookstall Co. Adventure novels, it seems, were among their popular fare. A brief article in The Australian Worker (22 February) discusses a couple such novels, but starts by saying that the N.S.W. Bookstall Co.
continues to deliver the goods, and as the goods, in the shape of vigorous yarns by Australian writers, appear to be selling well enough to make a further continuation certain, the company can be congratulated in believing years ago that local talent would make good if it were given the chance hitherto denied it.
Some of you might remember a recent Monday Musings I did on Australia’s favourite genres, in which I reported that a Swiss-based study had determined that Adventure and Classics were our favourites. I won’t revisit that now, as you can read the post and its source information yourself if you’d like, but I was surprised that Adventure seemed so popular now. I am not so surprised, however, given the still relative newness of the Australian settler colony in 1922, that adventure was popular then. What did surprise me, however, was that, despite the longstanding strength of the bush myth, the bush was not the main setting I found – but I did find a few.
One was titled The black opal. I don’t know how many novels have been titled The black opal, but they abound, including Katharine Susannah Prichard’s of 1921. In 1922, however, there was one by journalist-cum-novelist Jack North. The Northern Territory Times and Gazette (16 September) writes that it is sub-titled “A story of Australian love and adventure”, but that
it is more than that. Notwithstanding the melodramatic incident which Percy Lindsay selected for his cover design, The black opal is a wholesome, well-written novel in which the lure of the bush triumphs over the glamor of the city.
I think “Jack North” might be a pseudonym. He had written, at that time, two other popular novels, Harry Dale’s Grand National and The son of the bush, plus, apparently, scenarios for the “movies”. (The article writer used those quotation marks for this clearly still strange new medium.)
A more traditional-sounding bush-adventure novel is Roy Bridges’ historical fiction, The cards of fortune, which the writer in the Kandina and Wallaroo Times (20 December), says is set in “the stirring days of the first settlement in Tasmania”. (Not sure all would call those days “stirring”, at least with a positive connotation!) It is, says the writer, “an appealing love story which is developed with the aid of stirring adventure”. (There’s “stirring” again”.) The novel, about a bushranger hunt, is described as a “bright little story of the early days”. Adventure novels are, I guess, escapist!
Island adventure novels
The most common adventure novels I found, however, were island adventures, which I think could qualify as a sub-genre?
The Australian Worker article I mentioned in this post’s opening briefly discusses two novels, S.W. Powell’s Hermit Island and Jack McLaren’s Feathers of heaven. The reviewer clearly admires the publisher, but not necessarily these books. They are both set to the northeast of Australia, and, s/he says,
are big-bulged with thrilling adventures in those places where the codes of life, to put it mildly, are not exactly of the parlor or the Sunday school variety.
They hope “this island type of yarn won’t be overdone”, because, they say
There’s plenty of love, and adventure, and goodness, and badness in Australia without going north-east in a boat to look for these elements of a readable story.
I will digress briefly here to say a little about Jack McLaren (1884-1954), because he was quite a prolific and popular writer. According to Wikipedia, he wrote novels based on his own experiences and was renowned for his “authenticity of background”. The son of a minister, he apparently ran away from school when he was 16, and worked as a cabin boy and seaman before landing in North Queensland in 1902. For the next 10 years he worked and travelled around the islands north and northeast of Australia, like Fiji, Java, New Guinea, Malaya and the Solomon Islands. He wrote for The Bulletin before turning to novels in 1919. Feathers in heaven was around his 7th novel.
The writer in the Kadina and Wallaroo Times (8 March) says that McLaren was one of Australia’s most popular authors. Feathers in heaven, this writer says, “is a novel of stirring adventure written round the illegal hunting of New Guinea’s beautiful birds-of-paradise … [and] … of course there is a girl in the story”. For this writer, the novel offers “wholesome adventure”.
Our Kadina and Wallaroo Times writer also discusses Powell’s Hermit Island, identifying it as being “of the Islands adventure class”, and set “off the beaten track” in Tahiti. It involves suspicion of piracy, for which there is “circumstantial evidence” and “develops rapidly to a wholly unexpected climax”. Sydney’s Sun (12 February), reviewing the same novel, makes a strong point about its Australian quality, starting the review with:
For a fine adventure story, neatly told, it is not always necessary to go overseas. Here is an Australian author, S. W. Powell, who knows the knack. Hermit Island is excellent value … The yarn is as capably done and as well imagined as any that comes out of California, and it has the advantage of speaking our own Australian language.
S.W. Powell had, at the time, written four popular island-adventure novels. The genre was clearly a goer back in the 1920s.
Another reviewer, this time in the Northern Territory Times and Gazette (18 July), discusses Powell’s The pearls of Cheong Tah. Like the previous reviewers, this one comments on Powell’s inclusion of humour in his novels – along with tragedy and romance.
Some random concluding observations
Did you notice the focus on “wholesome”? “Little” things like this provide such insight into their times.
Also, I struggled to find cover images. These books may have been popular, but most were cheap paperbacks and have not, apparently, survived well. Neither have the literary reputations of most of their authors. As always, it’s interesting to see how popular authors of a time fare over the long term. Could it be argued that the more popular a work, the greater the likelihood of appealing to more ephemeral interests and tastes and therefore of dating?
Previous 1922 posts: 1. Bookstall Co; 2. Reviewers on Australianness; 3. ALS Women’s night
12 thoughts on “Monday musings on Australian literature: on 1922: 4, Adventure novels”
Your MM feels later than usual. I’m sure you know Percy Lindsay was Norman’s (older I think) brother. The cover doesn’t really look like a Lindsay, except for the convict’s leaning-forward stance.
Haha Bill. I scheduled it for 11pm, my normal time, but then wanted to tweak it a little more, so rescheduled it for 11.15pm! So just 15 minutes later.
Yes, I did, but I don’t know his style at all. Why do you say that about the convict’s forward-leaning stance?
Because it’s familiar. Tomorrow I’ll dig up another drawing that will prove my point (I hope! I’m out on a limb here).
I’d love you to do that – prove your point! Not because I want you stuck out on that limb but because I’m genuinely interested.
I have a few books illustrated by Norman Lindsay – Saturdee, Age of Consent, The Letters of Rachel Henning – so I went looking for that stance, and for what makes Norman Lindsay’s drawings so recognisable. What I can say is that his characters are often bent at the hips, forwards as with Percy’s convict above and sometimes, slightly backwards. I’ll email some drawings from ‘The Letters’ which might support what I’m trying to say.
Thanks Bill … look forward to seeing them. (I hadn’t realised you were saying this is like Norman Lindsay, and that Percy’s style looked similar. I thought you were saying you knew Percy’s style well. Either way though, I hadn’t noticed that detail … but it’s really interesting.)
Your quote of “big-bulged with thrilling adventures in those places where the codes of life, to put it mildly, are not exactly of the parlor or the Sunday school variety” is quite odd: ‘big-bulged’ ? – ‘parlor’ ? Is this some Yank writing for The Australian Worker ?
I love the different writing M-R in these old papers. Re parlor, I did read recently that a lot of American spelling was used then, and I have seen it, eg also often in color. It’s fascinating that it was used but it didn’t take off. But the word itself is English. As for big-bulged, I wondered about that – the mind boggles a bit!
As it happens I have a review of My Crowded Solitude by Jack McLaren, on my shelves because I had studied it in ‘Leaving Blue’. I conclude that no, this book would not be on school reading lists today…
Thanks Lisa. How fascinating. I have commented on your post. Of the writers I mention here, he is by far the best documented.
The escapist novel is an important one for me. There have been times when my spouse and I read Burroughs’s Barsoom books, one after the other, because they are easy to read, have a structure like a quest (which today I associate more with videogames that Greek epics), and always work out in the end. Lately, so many books getting attention in the U.S. are about racism, sexism, homophobia and transphobia, police brutality, etc. We’re bombarded with these messages, and I honestly think the messages are being screamed at folks who already know about all the topics I just mentioned.
My daughter would agree with you re escapist novels. She was just saying tonight that she read one the other weekend. I don’t really consciously decide to read escapist books, to look for books that work out in the end… But I used to and when I did it would usually be Jane Austen. Or, if I wanted something lighter now, I might go for something quirky like Anne Tyler.