Monday musings on Australian literature: Weird fiction

All being well, my next post – or, a very near future one – will be on Chris Flynn’s astonishing short story collection, Here be Leviathans. As I was reading it, I came quite serendipitously across Nina Culley’s article titled “Weird is in“, in Kill Your Darlings*. The article references Chris Flynn’s collection and some other works I’ve read recently that are a bit, well, off-centre.

Culley opens the article with:

Australian fiction has long been dominated by the realist novel. A new wave of writers continue the avant-garde tradition—but are experimental and offbeat stories always destined to be relegated to a literary niche? 

Now, I do tend to prefer realist (or realistic) novels. I am not much into the various forms/subgenres of speculative fiction (though I don’t mind dystopias, which just seem to me to be future realism!) However, this is not to say that I don’t occasionally venture into the more imaginative, surreal or even fantastical. I like Murakami, for example; I loved Jane Rawson’s A wrong turn at the Office of Unmade Lists (my review); and in more recent times I enjoyed Chris Flynn’s Mammoth (my review). I am certainly enjoying his Here be Leviathans. Would Culley’s article, I wondered, explain why?

She follows her intro with the point that “experimental and strange fiction is often viewed as a niche of the literary world, reserved for audacious writers who dare push the boundaries of storytelling and their open-minded readerships”. Such writing is also, she says, “frequently subjected to mixed reception – some ardent, some bamboozled”. I can understand the latter, because, almost by definition, weird writing tends to subvert, if not actively eschew, the conventions against which many of us think about what we read. When that happens, we can struggle to work out how to assess it. or example, if our benchmark is realistic characters, what do we do with characters who are determinedly not so?

Culley, who actively sought out unusual fiction, was surprised to find that there was more out there than she’d thought. It’s hard to categorise but she found it under genre labels like “bizarro fiction” and “new-weird fiction”. She suggests that these genres seem “to have a lot in common with post-modernism and early avant-garde movements, with self-reflexive tendencies towards satire, irony and pastiche”. They “playfully comment on their own artifice” and challenge readers with “bold questions”. I often enjoy writing like this. I have no problem with writers reminding me that it is art I’m consuming, not a representation of reality, because, well, it is art I’m reading and I want to think about the art.

Anyhow, she argues that Australian literature has moved on from a focus on ‘bush and beach’ to something she calls ‘urban existentialism’. Much of this is “wonderful” albeit often “bleak”, but it is also Euro-centric. She characterises it as being concerned with “weaving together a character’s multi-faceted relationship with their country—how it’s threatening and how it’s beautiful, notions with complex colonial implications”. The problem is that this writing might be significant to a point, but it is also homogenising. It “undermines the demand and presence of a diverse literary scene”.

And now, before you jump in with but, but, but, she agrees that Australia has “fostered bold voices and innovation” from the likes of Patrick White through Helen Garner, Gerald Murnane, Murray Bail, and that fascinating import from South Africa, JM Coetzee, to newer writers like Alexis Wright, Robbie Arnott, Ellen van Neerven and Evelyn Araluen. I’ve reviewed all of these writers here at lest once (and admit that while I have enjoyed their writing, most have challenged my reviewer faculties! Which is no bad thing!)

Culley then discusses the publishing of weird writing – who is publishing it and why enough isn’t publised – but I want to explore a little about why read “weird” fiction.

Take weird narrators, for example. Some readers don’t like them, they don’t like, say, skeletons (in Carmel Bird’s Family skeleton) or foetuses (in Ian McEwan’s Nutshell) but in the hands of authors who know what they are doing, weird narrators can jolt us with fresh perspectives on an idea or issue. Chris Flynn’s Mammoth, as I wrote in my review, tells the story of humanity’s destructive, often brutal march through time, through the eyes of those we supplanted, the fossils of extinct creatures. Seeing the world through such eyes is mind-bending and eye-opening.

Julie Koh takes a different approach. Most of her stories in Portable curiosities (my review) start realistically but often turn surreal or absurd. Her targets, though, are grounded – in issues like consumerism, capitalism, commercialism, and the stereotyping of Asian people in Australia. Again, the weirdness can jolt us into seeing (or feeling) things that realism may not expose because it’s all so familiar.

With First Nations writing, the situation can be different again. What we western readers might think is weird is perfectly natural to First Nations people, because, for example, there is no line between the humans and country. It is all interconnected. There is no hierarchy, but mutual responsibility. Reading the writing of others may not change our own worldview, but I like to think it can help us understand different worldviews and see that they are just as valid as our own.

Returning to Culley now, towards the end of her article, she says that Flynn’s Here be Leviathans was described as “boundary pushing”. His response was that this kind of labelling indicates “that the Australian literary scene has been beholden to a streak of misery realism for so long that it’s forgotten to…have fun.” I am not averse to “misery realism” – it has its place – but it’s not my only diet. I also like fun. I like cheeky writers who know how to make points with a light – or even bizarre – touch. Watch out for my review of Here be Leviathans to see what I mean.

Meanwhile, do you read “weird” fiction? Why or why not?

* KYD is an online subscription journal, but some free access is provided.

Monday musings on Australian literature: Trove treasures (10), On short novels

As I’ve said before in this series, not all the “treasures” I find, particularly those from the 19th and early 20th centuries, are specifically Australian, but I justify them because in those colonial and early post-colonial times English content tended to reign supreme.

This post was inspired by my serendipitously coming across an article praising short novels. Most of you will know that I love short stories and short novels (or novellas) so of course I was interested. I went looking for anything else on the topic, and I found a few little items that I felt worth sharing.

Plea for shorter novels

The article that inspired this post appeared on 6 July 1907 in Sydney’s The Australian Star. It cites one Basil Tozer, who made a “plea for shorter novels” in the Monthly Review. Naturally, I researched Basil Tozer. He’s not in Wikipedia, but it looks like he was born in Devonshire around 1872 and died in 1949, and that he wrote some fiction and nonfiction. In the article, he seems to be railing against books like those Victorian “big baggy monsters”. He says:

The habit of loading a story with indifferent descriptive passages still prevails to a great extent, though it might with considerable advantage be dispensed with. A beautiful woman loses her charm when every good point she possesses, from the creamy smoothness of her complexion to the alluring, curve of her eyebrow, is described separately and in detail; and in the same way a glorious scenic panorama metaphorically falls flat when every square mile of it is analysed and dissected. 

These “faults”, he says, are “commonest among young writers” but they are also “flagrant enough still among some of our novelists who have served a long apprenticeship”. He names French writers like Daudet, Hugo and de Maupassant, suggesting there is no “superfluous verbiage” in them. These are, he admits, three of France’s most polished fiction writers, but even “the rank and file” French novelists “seldom err upon the side of overloading their work with unnecessary vocables and third-rate descriptive passages”. He believes that British novels would be strengthened if they were more condensed.

The long and short of it

The next article I found was published in late 1925 and early 1926 in several regional newspapers across Victoria, South Australia, and Tasmania. It reports on comments made by someone called Mark Over in Outlook. I struggled to identify Mark Over, but I assume the journal is the British magazine which Wikipedia says was, in full, The Outlook: In Politics, Life, Letters, and the Arts. It ran from 1898 to 1928. The first version of the article I found appeared on 14 January 1926 in Victoria’s Shepparton Advertiser. It reports that Mark Over had written that readers are appearing to prefer the short book over the long one, that they “seem to be frightened by the book of many closely printed pages, and choose the large type, thick-paper novel which is really hardly longer than a short story”.

However, this doesn’t spell the end of the long book because Over believes that “this type of reader” does like to buy long books as gifts, as they are – wait for it – “better value for money”! (I’ve heard this before as an argument against novellas.) Booksellers, he says, will vouch for this. And, he adds, library staff and owners also prefer long books: they mean less work because they take longer to read so they are changed less often and experience less wear and tear. Mark Over’s advice?

Let would-be novelists remember these prosaic facts, and count their words.

Love it …

Ten years later, on 31 August 1937, Melbourne’s The Herald shares a report from Arthur J Rees in London. This name rang a bell and yes, he is in Wikipedia. He was an Australian mystery writer, who “likely went to England” in his early twenties. He reports the opposite to Over, saying that the British don’t like short novels and that this had caused quite a controversy because “a leading critic” had recommended an American novel of 100 pages “worth many a contemporary English novel of four times the length”. Unfortunately, the newspaper I found this article in is in poor condition so the scanned text is not completely legible, but he wanted to know why English fiction writers didn’t attempt this sort of close writing “instead of plunging themselves and their readers into masses (?) of words and padding out their novels (?)”. 

Except, he knows why. Readers don’t like short novels. Libraries won’t stock them because they can’t “persuade library subscribers to take them out; they don’t think they are getting enough for their money”. (There it is again.) Readers, he reported to The Herald, like a “thick book”. So, of course, publishers also won’t publish short novels. On the rare occasion that they do, said Over, it is ‘printed in larger type, and “bulked out” by thicker paper’. (Short stories, he added, suffered a similar fate.)

I found a couple more articles, but these contain the gist of the pros and cons. Has anything changed much do you think?

Meanwhile, I will leave you with a funny little par I found in one of those literary news type columns. It was in Ian Mair’s The Argus Literary Supplement on 2 February 1946. Headed “Writing to space”, it went like this:

The factory chief of a New York publishing firm recently asked the author of a very long novel if she would mind cutting a few pages of her book, then in process of manufacture, not yet bound.

The author couldn’t help asking why the request didn’t come from one of the house’s editors.

“Because,” said the production man, “we have some thousands of cartons (book casings) to use up, and they’re a shade too narrow for this job.”

The author cut her book, which is now one-eighth of an inch thinner than it was before.

Now there’s a new type of editing – to suit the size of the cover!

Monday musings on Australian literature: First Nations Australian non-fiction

Since 2013, I have devoted the Monday Musings that occurs in NAIDOC Week to a First Nations topic. This year I’ve chosen First Nations Australian non-fiction. I have previously written Monday Musings on biographiesautobiographies and memoirs by First Nations writers, but what about other sorts of non-fiction?

Before I get to that though, a bit about this year’s NAIDOC Week theme, which is “For our elders”. The website says that

Across every generation, our Elders have played, and continue to play, an important role and hold a prominent place in our communities and families. 
They are cultural knowledge holders, trailblazers, nurturers, advocates, teachers, survivors, leaders, hard workers and our loved ones. 

And they say more, but you can read that at the website. I will just add that it was thrilling to watch the 2023 NAIDOC Week Awards on television on Saturday night and see Aunty Dr Matilda House-Williams win the Female Elder of the Year award. She has been an absolute force for her people – and for reconciliation – in my city for as long as I can remember. She was our city’s go-to Welcome-to-Country person way back when that practice started. She was involved in the creation of the historic (and still existing) Aboriginal Tent Embassy. And so much more. These days it is often her son, Paul, who does Welcome to Country, as he did last month at the 2023 ANU Reconciliation Lecture. However, accompanying him on stage was mum, Aunty Dr Matilda, and his son. It was truly special, as they performed a song for us as part of the Welcome. Anyhow, you can read more about her on the NAIDOC Awards site.

Now, today’s topic. There’s a wealth of literature to choose from so my aim here is to give some sense of the breadth of recent non-fiction writing by First Nations Australian writers.

Bruce Pasco, Dark emu

Probably the best known non-fiction book, today, by a First Nations writer is Dark emu (my review) by Bruce Pascoe. It argues for us to rethink our understanding of First Nations culture, specifically to appreciate that pre-colonial Aboriginal Australians were more than hunter-gatherers as they had been traditionally described. The book won several awards, has a younger people’s version, and was adapted into a ballet by Bangarra Dance Theatre. It has also had its share of controversy, but overall it has played a significant role in changing people’s attitudes to First Nations history and culture.

Pascoe’s book, however, is not the only First Nations book to address First Nations knowledge. Indeed, this seems to be a growing area of interest. Some of these books aim primarily to explain First Nations culture to others but most also share knowledge in the belief that it will help all Australians to better understand and thus more fully engage with our country. I’ll list a few of these, in alphabetical order by author:

  • Paul Callaghan and Uncle Paul Gordon (2022). The Dreaming path: Indigenous thinking to change your life
  • Gay’wu Group of Women (2019). Song spirals: Sharing women’s wisdom of country through songlines (Denise’s review)
  • Duane Hamacher with Elders and Knowledge Holders (2022). The first astronomers: How Indigenous elders read the stars
  • Terri Janke (2021). True tracks: Respecting Indigenous cultural knowledge and culture (Lisa’s review)
  • Marcia Langton and Aaron Corn (2023). Law: The way of the ancestors (in the First Knowledges series (on my TBR)
  • Katie Noon and Krystal de Napoli (2022). Astronomy: Sky country (in the First Knowledges series)

As you can imagine, it is difficult to categorise the non-fiction books I’ve selected into subject areas, because there’s so much overlap, but here are a couple books that are primarily history:

  • Larissa Behrendt (2016). Finding Eliza: Power and colonial storytelling (Lisa’s review; still on my TBR)
  • Rachel Perkins and Marcia Langton (2008). First Australians: An illustrated history

First Nations historians are working in academia, and producing important texts, but I want to focus here on books that are accessible to the general reader.

Many First Nations writers have written what I would call hybrid memoirs, books which in their case combine memoir with sociopolitical commentary. By definition, memoirs tend to have a specific focus, like Biff Ward’s Third chopstick (my review) in which she, as a Vietnam War protester, later talks to those who fought to understand their experience, and Carmel Bird’s bibliomemoir Telltale (my review) which examines her life through the books she’s read. However, with many First Nations hybrid memoirs, memoir elements are used to illustrate their exploration of issues like colonialism, racism, social injustice, dispossession and reconciliation. One of the best known writers in this area is Stan Grant whose Talking to my country (my review) and, most recently, The Queen is dead (kimbofo’s review), explore contemporary Australia with reference to his own experiences along with his extensive knowledge of history and philosophy.

But, he’s not the only one. Some others include:

Anita Heiss, Am I black enough for you?
  • Claire G Coleman (2022). Lies, Damned Lies: A personal exploration of the impact of colonisation (Bill’s review)
  • Inala Cooper (2022) Marrul: Aboriginal identity and the fight for rights
  • Anita Heiss (2012). Am I black enough for you? (my review)
  • Chelsea Watego (2021). Another day in the colony (Bill’s review; on my TBR)

For a good list – with reviews by some of your favourite litbloggers – of First Nations Australian nonfiction, check out Lisa’s page dedicated to this topic.

Are there any First Nations non-fiction books that you’d like to recommend?

ACT Notable Book Awards 2023

Board Chair Emma Batchelor, and acting CEO Katy Mutton, at the Awards

Tonight I attended the presentation of the ACT Notable Book Awards which are made by Marion (the ACT Writers Centre). It was a well-organised event, but had a wonderfully natural and friendly feel to it at the same time, appeals to me. I’ll take natural over glitz every time. The venue was the Canberra Contemporary Art Space, where the featured exhibition was Bodies without Organs, a group show, says the website, by queer and non-binary artists, exploring “how contemporary artists transgress and subvert our understanding of materiality and form”. There was a little time to view the art before the formalities started, but I’m afraid I used that time to catch up with people.

As I didn’t share the shortlists for these awards, I am listing those, and highlighting the winners in bold.

Poetry

The shortlist:

  • Penelope Layland, Beloved (Recent Work Press)
  • Maurice Nevile, Translating loss: A haiku collection
  • Peter Ramm, Waterlines (Vagabond Press)
  • Kimberly K. Williams, Still lives (Life before man) (Gazebo Books)

Maurice Nevile won the self-published award, and Peter Ramm was highly commended.

Non fiction

The shortlist was:

  • Tabitha Carvan, This is not a book about Benedict Cumberbatch (HarperCollins)
  • Katrina Marson, Legitimate sexpectations (Scribe Publications)
  • Michael Richards, A maker of books: Alec Bolton and his Brindabella Press (NLA Publishing)
  • Helen Topor, Neither king nor saint
  • Biff Ward, The third chopstick (my review)
  • Jan Williams Smith, The glass cricket ball (Big Sky)

Helen Topor won the self-published award, and Katrina Marson was highly commended.

Children’s

  • Jackie French and Bruce Whatley, Diary of a rescued wombat: The untold story (HarperCollins Australia)
  • Irma Gold and Wayne Harris, Seree’s story (Walker Books Australia)
  • Dr Bryan Lessard (Dr Bry the Fly Guy), Eyes on flied (Pan Macmillan)
  • Stephanie Owen Reeder and Astred Hicks, Swifty the super-fast parrot (CSIRO Publishing)
  • Barbie Robinson and Ian Robertson, Charles the gallery dog (For Pity Sake Publishing)
  • Krys Saclier and Cathy Wilcox, Camp Canberra (Wild Dog Books)

Barbie Robinson and Ian Robertson won the self-published award. Two highly commendeds were announced: Irma Gold and Wayne Harris, and Stephanie Owen Reeder and Astred Hicks. It’s interesting, but perhaps not unusual, how many of the shortlisted books feature, as an American friend of mine would say, “critters”.

Fiction

  • S G Bryant, A death in black and white
  • Paul Daley, Jesustown (Allen & Unwin)
  • Tanya Davies, Then Eve
  • Chris Hammer, The tilt (Allen & Unwin)
  • Peter Papathanasiou, The invisible (Hachette)
  • Inga Simpson, The willowman (Hachette)

The self-published award went to Tanya Davies.

Marion Special Book Award

This award is not limited by genre, and this year’s was won by Dylan van Den Berg’s play, Whitefella yella tree.

Other awards

Two other awards were made:

  • The Anne Edgeworth Emerging Writers Award, now in its 11th year, is made to an emerging writer and this year’s winner was a screenwriter, Linda Chen.
  • The June Shenfield National Poetry Award for an individual poem was won by Rhian Healy from Western Australia for her poem “The gunshot”. ACT poet Rebecca Fleming won third prize for her poem “Anticipation”.

Canberra (the ACT) is a small jurisdiction, but has an active, engaged and, I’ve found, warm literary community that was well in evidence despite the awfully chilly evening outside. I’m glad I made the effort to go.

Monday musings on Australian literature: A question about things

A different sort of Monday Musings this week …

My reading group’s June book is Edwina Preston’s Bad art mother, which was published by Wakefield Press last year and which I’ll be reviewing soon. (If you don’t know it and are interested, you can check out Lisa’s review.) It was shortlisted this year for the Christina Stead Prize for Fiction (in the New South Wales Premier’s Literary Awards) and for the Stella Prize. Wakefield Press’s website describes it as being “set in the Melbourne milieu of Georges and Mirka Mora, Joy Hester, and John and Sunday Reed”. The same milieu, in fact, that inspired Emily Bitto’s The strays (my review) although that’s a very different book. However, I digress … because my little question for you today is not central to the book, just something that caught my attention. It comes from Owen talking to his aunt:

Why did you throw out everything when you sold the house in Coburg, Ornella? Was it because you knew all those things didn’t matter in the end, that without memories attached they were just junk shop rubbish? You put Nonna’s things out on the grass for the neighbours to pick through. You didn’t even keep a teapot, or a pair of earrings. You filled your place with glossy new things … But what are you now without all those things?

There’s a bit more, but the question Owen asks is one I’ve been confronting in my current big downsizing project – a project that is almost done, thank goodness. Still, it has been difficult, a wrench, to part with things that are part of the story of my life, things I haven’t used in decades but that, every time I see them, remind me of some person or event. They gave me joy, so Marie Kondo’s criterion just didn’t work!

However, to use a cliche, you can’t take them with you, and we don’t want to leave more of a headache to our kids than we have to, so decisions had to be made. And, they have been. I do expect some gnashing of teeth in the future, as well as some “I kept that!”, but overall I think we’ve done ok. My choices were not based on value, but on meaning, so out went some fine art porcelain and in stayed Mum’s funny little no-brand donkey that she kept with her through her many moves, for as long as I can remember. I never did ask her why – why didn’t I? – but I couldn’t let it go. And, of course, I kept her copy of Pride and prejudice.

I could go on, sharing all my little decisions, but will leave it there, and return to the opening question: what do our things mean to us, and does letting them go change who we are?

What do you think?

Monday musings on Australian literature: Trove treasures (9), Pro-novel reading, early 20th century

Last week, in my Trove Treasures series, I shared some ideas published in the 19th century arguing for reading novels. Now, I am sharing some from the first decades of the 20th century. The articles range from 1903 to 1928, with many, again, coming from London.

Diversion and instruction

Two papers – Brisbane’s The Telegraph (18 December) and Perth’s The Spectator (31 December) – reported in 1903 on the annual address given by Professor Dicey to the Working Men’s College in London. Dicey argued that the main benefit of novels was “to take a man out of himself — to afford some relief from the petty and tiresome thoughts of every-day life by substituting a world of larger and more varied interest”. (We must forgive him and the others below their gender specificity – I suppose.)

Interestingly, The Spectator says, and this seems to be its own reflection, that it’s not always “the highest class that serves this purpose best” and goes on to share a variety of novels from penny novelettes, like the Deadwood Dick novels, to Scott, Thackeray and Balzac. This idea of novels as valid – indeed useful – recreation is refreshing. The Spectator goes so far as to say that

That degree of mental absorption and excitement to be found in works of fiction, fine and trashy alike, and more often in the trashy ones, has become part and parcel of the home life.

But, this sort of reading must not be “indulged too far”. The Telegraph reports a month or so later (8 February) that Prof Dicey does comment on the issue of quality, making this recommendation:

take good care that you read novels of a good kind — each good of its kind. If you like a detective story take care you read a good detective story, and think about what you have read.

Dicey also believed – and here we are in more familiar territory – that novel reading provides “an introduction to life and thought”. This idea though, says The Spectator, is one few – including itself – “will be prepared to admit”. It fears that novels might teach readers what to expect in life but not how to meet it.

Moving to 1905, we have another Englishman’s point of view, this time Sir Richard Henn Collins*, Master of Rolls in England. The Armidale Express and New England General Advertiser (7 February) reports Sir Richard’s argument that much useful knowledge can be acquired through reading fiction. Indeed – are you listening Bill – he argued for the value of the historical novel, saying, “that he himself had won a scholarship mainly through having imbibed French history by reading Dumas’ famous Three Musketeers and other French novels of a similar class”. Even I think that might be going a bit too far – as does our newspaper. It argues that while this might be an appealing way of learning, the fact is that the public service and many professions require the passing of examinations. This means that the “the greater part of the schoolboy’s career must necessarily be occupied in the process of stuffing with dates, syntax rules, and other learned matter. The novel as an educator cannot, therefore, be recommended as an essential part of the ordinary public school curriculum”.

A year later, on 16 March 1906, The Hebrew Standard of Australasia, picks up the argument favouring the reading of novels. It suggests that “many people, especiallv men between twenty-five and forty-five, men in responsible positions, serious people engrossed by the details of a large business, consider novels simply as a kind of dross”, but this, it argues, is a “mistake”:

To read a good novel and read it with undivided attention is a means of instruction and education, which very few men below fifty can afford to entirely neglect. We have met not one, but many business men, excellent, successful and commanding our admiration in a very high degree, in whose manner of conducting business we have noticed defects, not to say faults, which most probably, would never have occurred if they had been in the habit of reading, now and then, a good novel, and had been able to extract from that reading the good which it can yield [my emph].

It then spends some time elaborating exactly what businessmen can learn from novels. It’s a thoughtful article, well worth reading.

Varying the diet

William Makepeace Thackeray, Vanity Fair

Support for novel reading continued in the 1920s, but I found some qualifications. For example, Leeton’s The Murrumbidgee Irrigator (20 March 1923), shares an argument put forward by Thackeray, half a century previously, “that all people with healthy literary tastes love novels” but “that overindulgence in them in youth spoils the taste for them in after-life, even as a schoolboy outgrows his love for pudding and jelly”. He goes on to discuss the truth of this in his era, particularly regarding those decadent modern novels which cannot hold his attention. Yet, speaking for himself and his fellow-sufferers, he admits that, regardless of having over-indulged in their youth, they can still “find a corrective in those romances which used to entrance us — ah! how many years ago”.

And in 1928, Brisbane’s Daily Standard (17 March) shared an argument from London’s Evening Standard that “the habitual novel-reader should sometimes vary his mental diet”. Indeed, the Evening Standard suggests that this is important given that the other works of literature, which preceded the novel and continue alongside it, “will no doubt be still vigorous when the novel has had its day”. Little did it know!

It then goes on to say something rather interesting:

There is no good novel which is not veiled autobiography, either from the emotional or from the intellectual standpoint; but a writer can under the protection of the veil, be franker than he could possibly be in a ‘Confession’ or ‘Apologia pro vita sus.’ There is perpetual complaint of the indecent novel; but in a sense all novels are indecent —that is, they reveal thoughts and feelings that the writer would never dream of exposing to a company of even close friends.

It says more, arguing that there is value in wide reading – hard and low-brow, fiction and nonfiction – but I’ll leave you with its closing remarks because they tickled me:

it is neither polite nor grateful to many excellent modern writers in non-fiction genres to talk as if ‘books’ were only another name for novels.

So there!

* Collins was the judge in the Wilde vs Queensberry libel case.

Monday musings on Australian literature: Trove treasures (8), Pro-novel reading, 19th century

Édouard Manet, The Reading (1865-1873), Manet’s son reading in the background. Public domain, via Wikimedia Commons.

Continuing my Trove Treasures series, I am turning this week to some of the discussions I found about the value of novel-reading. Three months ago, I shared some of the arguments made against novel-reading, but in fact, in the papers I found, there seemed to be more arguments pro such reading. So much so that I’m planning two posts – one on the mid-to-late 19th century, and the other on the beginning of the 20th century.

Today’s 19th century articles range from 1867 to 1899, and they traverse the topic from some interesting angles.

Prose vs Poetry

The earliest article was published in the Geelong Advertiser, on 7 May 1867, but appears to be from London’s Saturday Review. So, not Australian-written but published here. Several of the articles I’ll discuss comment on what reading novels can teach us, but this one did surprise me. It commences:

As every novel turns upon love and matrimony, the first effect of universal novel reading must necessarily be to familiarise the young imagination with the idea of both. 

What’s this assumption that “every” novel is about love and matrimony? Was this so at the time? Well, not “every”, because then our writer offers exceptions. Regardless, the writer recognises that novels aren’t the means by which people become aware of the “matrimonial adventures to come”. Fairy tales, for example, contribute to the construction of “masculine and feminine ideals”. What is “left” for novels to do is “to train and develop an instinct which is already in existence in the germ” but, says our writer, this knowledge must “ripen gently”. Indeed,

premature cultivation tends to every species of social mischief. Nobody ever yet knew a very sentimental boy, unless indeed he came under the exceptional category of a genius, arrive at much good; and though to pass the same general censure upon sentimental girls would be hard upon the sex; it may be believed that women who go through life most happily whose capacity for sentiment has flowered late.

The language is convoluted but I think you get the gist. Basically, the article claims that sentimentality stimulates imagination at the expense of observation:

Sentimental boys and girls seldom notice nature, keenly, and with the eye of a student or an inquirer. They get into a lazy habit of liking sunsets, and deriving a number of prematurely solemn impressions from them; but they have no healthy interest in butterflies, birds nests, and fossils.

The problem, according to the article, is that this sentimentality – that comes, remember, from understanding “matrimonial adventures” too quickly – results in high sensitivity to natural phenomena but limited understanding of how it all works. For these reasons, the writer does not greatly like poets – particularly Byron. Wordsworth is acceptable, because the writer believes his “sentimentality” is that “of a middle-aged genius, not of an overgrown and morbid boy”.

Was this a common view of romantic poetry? The article then describes the value of novel-reading:

a fairly good novel presents young minds with a better and more correct notion of the relations between men and women than they would be likely to form if left to their unassisted efforts. It does away with a good deal of unnecessary mystery in which young people are inclined to clothe the idea of love. Marriage is not what it appears to be in most romances, but it is more like the literary pictures than it is like the vague and hazy conception which emanates from the youthful brain. Fiction in prose is truer to nature than fiction in verse, and novelists may be trusted more than poets. 

Take that, poets! The reason, says our writer, is that “prose fiction is generally written by less morbid people”. The article then discusses the sorts of people who write novels. Its point is that novelists (aka “literary men”) mix in the world while poets live in the closet or within garden walls. Surely a generalisation! Anyhow, then he gives a recommendation – Mr Trollope. Our writer is concerned about

flirtation with married women becoming an unnecessarily frequent ingredient in his literary conversaziones; but life is life, and it is probably difficult to produce monthly humour without a little impropriety. On the whole, the bent of his pen is to sketch love and matrimony as healthy domestic pleasures, and not to depict them in the artificial colours in which diseased imaginations dress them.

Basically, Trollope is a good example of the “better class of novel writers” and is much better for the English youth than French romance! I’ll leave you with that thought and move to the 1890s …

A practical education

The two articles from the 1890s were published in Queensland’s Darling Downs Gazette (17 December 1890) and Sydney’s Sunday Times (26 February 1899). The first article quotes two British men on the value of novel reading. The first was Sir Edward Clarke QC MP, who, opening a “free library” in London, said that reading novels “was not a mischievous but a good thing”. “Good novels”, he believed, contain “elements of history” that are more valuable and easier for readers to digest than can be found in other books.

The other was the Scottish poet, biographer and translator, Sir Theodore Martin, who was presiding at the annual meeting of another free library, this one in Wales. That year, 2,492 novels had been read versus 811 of everything else combined. This disproportion was similar in other libraries, and Sir Theodore had some qualms. He didn’t criticise “reasonable indulgence in the delights of good novels and romances” because they widen our sympathies, and, he hoped, they inculcated a taste for reading which might lead readers to more demanding studies in areas like natural history, biography, poetry, and science. (He, clearly, saw poetry as having a higher value than prose fiction!) For Sir Theodore, reading fiction does not leave the lasting impression or give the satisfaction that other reading does.

The 1899 article was titled “The reading of novels and the morals of the public” and came from Women’s World, edited by Vivienne. Vivienne’s interest is in whether reading novels is “a judicious measure of education” and whether it should be encouraged. Her response? She failed to see that such reading caused “any great harm or moral wrong”. Indeed, she argued that novel reading provided “a kind of practical education”.

Novels illustrate the mechanism of the world at large, and show the various points of the machinery of life. They tell of every-day episodes; of the romance of days gone by; and, in fact, deal with life in all its forms, from the lowest to the highest grades of society, and from the earliest ages to present times. 

Sounds right to me, but the passing comment at the end did stop me: “of course, children should not be allowed to read novels, for obvious reasons”. 

So, there you have it … there were those who viewed novel reading positively, even where they had some reservations. This is a tiny sample, but you can see some progression from the idea mid-century that novels were primarily about marriage to the end of the century when they were seen to have broader relevance to understanding the world. I’ll be interested to see if things change in the next few decades …

Monday musings on Australian literature: Trove treasures (7), What police read

Number 7 in my Trove Treasures series was inspired by a little piece that appeared in Sydney’s Daily Telegraph on 6 December 1946. It was titled, “Men join police force after reading novels”. Naturally, I was intrigued. What novels, for example?

The story’s subject was one Constable J. Simons who had just resigned the police force, after having served for 17 years. He was speaking at a Police Association meeting and he said, to quote the Telegraph, that “most men joined the police force for adventure after reading detective stories”. (The rest of the piece was about why he is was resigning, which related to pay and and conditions, particularly regarding slow promotion due to the system operating at the time.)

It made sense that detective reading might inspire young men to look to the police as a career, but I wanted to find out more. Unfortunately, this proved quite difficult because it was hard to find specific search terms to get what I was looking for. As it turned out, in the time I gave to it, I didn’t find much, but what I did find was illuminating.

What I found were articles about what policemen (as they were mostly then) read – rather than about what caused them to join the police force. One article came from New York in 1914, and another two came from Queensland in the 1930s. All indicated that policemen did not read detective stories. Neither talked about what might have inspired them into the force, but both stated very clearly what they read once in the force.

New York New York

The 1914 article appeared in Sydney’s The Sun on 4 August. It commences with:

Whatever the world at large may think of detective stories, they do not win the esteem of those whose business it is to follow up crime. The police care least of all for this line of literature — a fact discovered by reports of books most favored among those consigned by the New York Public Library for use at the police stations. 

This story, then, is about the NYPL’s providing books to police stations for police reading. The article implied that what the police read might be affected by the sorts of books selected! They’d be, the article said, “standard and classic books” chosen by the library authorities “as to what they ought to read, that being an inclination of librarians everywhere”. (Oh dear, but I think this sort of high-minded prescription was more the case then, than in modern libraries!) Nonetheless, the article does explicitly discuss detective stories:

According to report, these particular readers find little of interest and nothing of profit in the ‘detective stories’ which have such a wide sale with the ununiformed public. The policemen say that ‘real’ detective work is not done after the fashion of the sagacious heroes of Conan Doyle and his predecessors, and therefore they scorn romantic crime-hunting. This condemnation involves the assumption that the methods of ‘practical’ men cannot be bettered — an assumption wildly fallacious, but entirely natural. The police antagonism to detective novels may be due in some part to the fact that in almost every such book it is the scientific amateur who works all the miracles, while the ‘headquarters man’ is usually a comic character who laboriously follows a false clue while the other fellow gets the results.

The article goes on to defend the writers of these books, suggesting that errors in detective work “may be intentionally made by an author for the sake of attaining some higher end of emphasis or excitement”. Indeed, says the article, “all the great advances in the task of crime-detection have been made, not by policemen, but by scientists”. Lest, however, we feel that the police were being unfairly targeted, the article continues that this is true of many professions and trades, so ‘that “the force” need not be humiliated by it”. Still, the article ends with a little sting in the tail for the poor copper, which I’ll leave for you to read.

Caring for police in Queensland

We then skip a couple of decades to Queensland and the creation of a library in that state’s Police Welfare Club. I found two articles on this initiative. One appeared in Brisbane’s The Courier Mail (24 November 1937), titled “Policemen’s reading: Logic, forensic ballistics: Why thrillers are unpopular”, and the other, nearly two years later, in that city’s The Telegraph (19 June 1939), titled “Our policemen study the classics”.

The 1937 article commences with

Few of Queensland’s detectives read detective stories. They find the novelists’ supermen unreal to the point of irritation.

The article quotes the C.I.B. man who showed the writer around the Club’s “fine new library” as saying that “We don’t detect that way”. This new library, the article claims, indicates “the higher education of the modern policeman”.

Both articles describe the broad content of the library, but it’s the second one that provides more detail about its genesis, noting something that harked back to that first article I found. It says that “a policeman’s pay does not ordinarily permit him to possess as his very own a library of any consequence”. Our detective novel reading Constable from 1946 would probably agree! Anyhow, the article’s writer, a “special correspondent”, explains that Queensland’s Commissioner of Police (Mr. C. J. Carroll), who had been appointed in 1934, had immediately set about creating a club “to give his men better facilities for recreation, educational advancement, and departmental advancement”. In 1936, after fundraising had got the club going, he turned to creating a communal library for the police and their families, in Brisbane and state-wide via mail.

Both articles write about the breadth of the collection, and engage in discussion about was being read, which ranged widely from poetry and the classics to political satire and books reconstructing real crimes and trials.

Towards the end of the second article, the writer asks the wife of a detective:

“Does he go in for detective stories?” 
“No, he reads to relax” she replied. Adventure stories—the lighter the better—were first favourite with him for recreational reading. 

The earlier article says that “Wild West books are the most popular in the relaxation class of reading”, so maybe this is what her husband was reading!

Much of the second article is anecdotal so it’s impossible to say just what “real” impact the library had on the state’s policing, but I’d like to think that our “special correspondent”, who concludes by quoting Arnold Bennet on the value of reading, is right when s/he says that

… with the aid of their library the men in the police force are developing greater understanding of mankind; consequently they must surely become better policemen.

Monday musings on Australian literature: Reconciliation Day musings

Since 2018 in the Australian Capital Territory, the first Monday after (or on) 27 May (the anniversary of the 1967 referendum) is a public holiday called Reconciliation Day. It is part of Reconciliation Week which, says Wikipedia, aims “to celebrate Indigenous history and culture in Australia and foster reconciliation discussion and activities”. Because Mr Gums and I have reached crunch time in our downsizing project, we did not engage in any of the focused activities around town. However, quite coincidentally, my decluttering task today included the books that set me off down my own reconciliation path, not that we called it that then. So, I thought to share them with you – and some of my own journey, from the keen but naive teenager to the better-educated person I hope I am today.

It all started at high school in Sydney, although there were beginnings in my early high school years in the outback town of Mt Isa. In Sydney, though, it was two women – the school librarian, Miss (Ellen) Reeve, and my modern history teacher, Mrs (Mary) Reynolds – who encouraged my interest in civil rights and to whom I am eternally grateful. When I was 15, I wrote my first piece on the need for fair treatment of “Australian Aborigines”* – for the school magazine. I intended well, but looking at it now I can see that it was naive and simplistic.

The books I read in those days included:

  • Brian Hodge and Allen Whitehurst, Nation and people: An introduction to Australia in a changing world, 1967: its progress-focused tone was typical of the times. It did recognise, albeit in passing, “the first black owners of our continent” but it also conveyed that lie that they didn’t offer much opposition. It briefly discussed paternalism, assimilation, and integration, which, it says, “most thoughtful people are now favouring”.
  • Douglas Lockwood, I, the Aboriginal (1960 Bill’s post) and We, the Aborigines (1963, my ed. 1970): written by a white man in the voice of his Aboriginal subjects, these were some of my first introductions to Indigenous lives – at least outback ones. Such an approach is politically incorrect now but, in its favour, the table of contents lists every person by name and “tribe”.

Then we move to my university years, and although my major was English literature, I also studied some anthropology. This included traditional ethnographic studies, using AP Elkin’s classic The Australian Aborigines (with its uncomfortable subtitle, How to understand them), but also involved more political reading, like CD Rowley’s The destruction of Aboriginal society (1970). It was my first serious literary introduction to the truths we are still learning now. Here is what the back cover of my 1972 Pelican edition says:

The destruction of Aboriginal society is a powerful and detailed study of the history and tragedy of the interaction between black and white Australians. Most white Australians today are unaware of the part the Aboriginal played in the history of settlement. Even if he only stood to be shot, he influenced profoundly the kind of man who made a successful settler.

The Aboriginal has been “written out” of Australian history; the tragic significance of conflicts have long been bowdlerised and forgotten. Yet, even if vicariously, our guilt remains, as does our responsibility. Aboriginal attitudes take on a new dimension in the light of history, and no policies should be formulated except in that light. This is a book to stir the sleeping white Australian conscience.

That was over 50 years ago! What have we been doing? Anyhow, it’s the book that informed my understanding, by which I mean it kickstarted my thinking from simple ideas about fairness and equality to comprehending the sociological complexity. It is also the book that, in 1982, the academic Peter Biskup said had begun, twelve years previously, “the process of rewriting the history of contact of Australian Aboriginals”.

These writers were all white, however. The first work I read by a First Nations writer would have to be, as it was for many of my generation, Sally Morgan’s My place (1987). Sally Morgan conveyed the fear and shame that attended being Indigenous in modern Australia, how this caused her family members to try to hide their heritage if at all possible, and the devastating intergenerational (though we didn’t use that term then) impact this can have.

Since then, and particularly since 2000, my reading of First Nations writers has increased dramatically, much of it documented on this blog, so I’m not going to repeat all that now.

My main point is, really, how horrifyingly slow all this is. We have had, among other things, the 1967 Referendum; Mabo and Wik, and the related Native Title legislations in the 1990s; the Royal Commission into Aboriginal Deaths in Custody tabled in 1991; the Bringing Them Home report tabled in 1997; the National Apology in 2008; and most recently, the Uluru Statement from the Heart in 2017. Having come of age in the 1960s with all its idealistic fervour, I would never have believed that here I would be in the 2020s with so little real progress having been achieved, with relationships fraught and a referendum on constitutional recognition struggling to gain forward momentum.

But, it’s not about me, so I will share the theme of this year’s National Reconciliation Week, which is, appropraitely,

Be a Voice for Generations.

The theme  encourages all Australians to be a voice for reconciliation in tangible ways in our everyday lives – where we livework and socialise.

For the work of generations past, and the benefit of generations future, act today for a more just, equitable and reconciled country for all.

And will leave you with CD Rowley’s conclusion. The words are of his time but the meaning is still valid, wouldn’t you say?

The future status and role of the Aboriginal will be a significant indicator of the kind of society which eventually takes shape in Australia.

* Nomenclature has changed over time, but in this article I have used different terms as appropriate to the subject and time.

Monday musings on Australian literature: Best Young Australian Novelists (5)

Okay, so last week I said that post would be the end of the current little run of awards posts – but then I saw the announcement of this year’s Best Young Australian Novelists award, and decided we could cope with just one more. I really will try to offer something new (or, do I mean old – time will tell) next week.

This award, as I have explained before, was established in 1997 by The Sydney Morning Herald‘s then literary editor, Susan Wyndham. This year is, thus, its 27th. It’s an emerging writers’ award, open to “writers aged 35 and younger” at the time their book (novel or short story collection) is published. They don’t have to be debuts, though they often are. Last year’s winner was Diana Reid’s Love and virtue, with Ella Baxter’s New animal and Michael Burrows’ Where the line breaks being runners-up.

This year we seem to have three equal winners, with each receiving $5,000:

  • Katerina Gibson’s Women I know (debut short story collection)
  • George Haddad’s Losing face (second novel, just longlisted for this year’s Miles Franklin award)
  • Jay Carmichael’s Marlo (second novel) (Lisa’s review)

The judging panel comprised the Sydney Morning Herald’s Spectrum editor, Melanie Kembrey (who also judged last year’s award), plus writers Bram Presser (whose The book of dirt won several prizes including the Christina Stead Prize for Fiction) and Fiona Kelly McGregor (whose Iris was longlisted for this year’s Miles Franklin award). The prize money comes from the Copyright Agency Cultural Fund.

The Herald‘s Melanie Kembrey, writing in the emailed newsletter I receive, said of the winners:

If these books haven’t already found a place on your reading list, they should. Gibson’s short story collection − clever, hilarious and inventive − will have you returning for rereads. Carmichael’s Marlo, the story of a love affair between two men in conservative 1950s Melbourne, will heal and break your heart in equal measure. It’s a slight novel that packs a big punch. Haddad’s Losing Face is alive with the sights and sounds of western Sydney, and deftly tackles the subjects of masculinity, misogyny and sexual violence

The winners, briefly

Most of the information below comes from the announcement in The Sydney Morning Herald (and, presumably, The Age).

Katerina Gibson

Women I know is a debut collection of short stories from an author whose work has appeared in such well-established literary journals as Granta, Kill your darlings, and Overland. She was also the Pacific regional winner of the 2021 Commonwealth Short Story Prize.

The SMH reported that the judges described this collection as showing “astonishing skill with the form – moving easily from actual to fantastical worlds, from sharp, straightforward prose to concrete poetry.”

Gibson herself is reported as saying that she loves the short story form, that “there’s something you can do with a short story that isn’t possible in longer writing. You can take more stylistic risks or try bolder concepts”.

George Haddad

Haddad’s first novel was, in fact, the novella, Populate and perish, which won the 2016 Viva La Novella competition. According to Star Observer, his second novel, Losing face, grew out of his doctoral studies at Western Sydney University “where he was researching the representation of masculinity in contemporary Australian literature, looking to authors like Christos Tsiolkas and Peter Polites for inspiration”. 

The SMH reported Haddad as saying that “It was really important for me to contribute to the conversation and to snapshot characters and situations that reflected contemporary Australian society as accurately as I knew it. The novel was always in me, but it was particularly sparked by my doctoral research on the intersection of masculinities, shame and suburbia.”

Jay Carmichael

Carmichael’s second novel, Marlo, follows his first novel Ironbark. It was about a young gay man coming of age in a small country town, and was, says The Guardian, “so deftly written it made Christos Tsiolkas jealous”. Lisa, in her review of Marlo linked above, writes that it “reveals the hostile environment of 1950s Melbourne for a young man discovering his sexuality when the laws of the land denied him the right to be.  It’s a very powerful, moving novella, tracing the coming-of-age of Christopher, a young gay man escaping the constrictions of the small Gippsland town of Marlo”. 

According to the SMH, Marlo is “a perfectly crafted story” and quotes the judges as saying that it “makes history immediate, every page pulsing with heart and sensuality”.

Have you read any of these books?