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The Imagery of Communism in Australian and English-Canadian Literature

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The Imagery of Communism in Australian and English-Canadian Literature Ideology/Representation/Text: The Imagery of Communism in Australian And English-Canadian Literature Marvin Gilman, B.A., B. Ed., M. A. A dissertation submitted in fulfillment of the requirements for the degree of Doctor of Philosophy. Department of English Faculty of Arts Macquarie University, Sydney November 2014 ii Contents Abstract ---------------------------------------------------------------------------------------------- v Declaration ---------------------------------------------------------------------------------------- vii Acknowledgements ------------------------------------------------------------------------------- ix Introduction ----------------------------------------------------------------------------------------- 1 Chapter One: Bethune/Buck/Evans: ‘Red Stars’ on Centre Stage ------------------------- 38 Chapter Two: Birney/Carter/Garner: Serving the ‘Red Banner’ in English-Canadian Fiction ------------------------------------------------------------ 73 Chapter Three: Acorn/Livesay/Wallace: ‘The People’s’ Poets --------------------------- 109 Chapter Four: Sharkey/Stakhanov/Alias Jack Smith: Cameos for ‘Reds’ -------------- 133 Chapter Five: Hardy/Hewett/Waten: ‘Positive Heroes’ in Australian Fiction ---------- 152 Chapter Six: Hewett/Manifold/Martin: Poets of the ‘New World’ ----------------------- 178 Conclusion --------------------------------------------------------------------------------------- 189 List of Acronyms -------------------------------------------------------------------------------- 193 Bibliography ------------------------------------------------------------------------------------- 195 iii iv ABSTRACT Ideology/Representation/Text: The Imagery of Communism in Australian and English-Canadian Literature This thesis is an exploration into the space of communist imagery as an integral component in the literatures of Australia and Canada from 1920-1990. The pervasiveness of Soviet socialist realism in the literatures of Australia and Canada has been an overlooked and unexplored area of critical analysis. As a formulation induced by the domination of Stalinists within the Communist Party of the Soviet Union, it sought to reaffirm the inauguration of a ‘New World’ based on the success of the October Revolution and the Civil War. It played a crucial role in the careers of writers affiliated to the Communist Party of Australia (CPA) or Canada (CPC), who were determined to introduce working-class issues and communist representation into their dramaturgy and fictionality. They incorporated the tropes of the communist, the Communist Party/union organiser, the peace activist, the scientific socialist and the martyr to the cause as the means through which they could communicate their political positions. The metonymies of communism permeated the descriptors of poets aligned to the CPA or CPC. This thesis demonstrates how these tropes and metonymies were inscribed in the textual practice of celebrated Australian and Canadian writers, in particular, Dorothy Hewett, Judah Waten, David Fennario and Dyson Carter. Their emulation of Soviet socialist realism and their adherence to its precepts of partinost, ideynost and narodnost generated their own unique hybrid, the subgenre of ‘New World’ social[ist] realism. There were three phases to communist writing, firstly, the Depression era dominated by the strike scenario and internal political conflict. The second phase of the post-World War II years found its vision in the ‘New World’ paradigm, which denied its colonial context and sought to replace it with the concept of a Future Soviet Australia or Canada. Nostalgia for ultra- radicalism in the 1930s emerged as the overriding perception in the late phase of the 1980s. This thesis asserts that the ‘New World’ writing of Australia and Canada was disabled by the political conditions of its production, without the supports available to the Soviet model to advance it strategically. v vi DECLARATION I certify that this thesis is entirely my own work and that I have given fully documented references to the work of others. This thesis has not, in whole or in part, been submitted for the award of any other degree in another higher education institution. Signed: Marvin Gilman November 2014 vii viii ACKNOWLEDGMENTS I would like to acknowledge the time and effort given to this project by my supervisor, Professor Marea Mitchell. Her expertise, advice and encouragement have been of incalculable assistance to the development of this thesis. My associate supervisor, Senior Lecturer Paul Sheehan, has been immensely helpful with particularly pithy remarks on many occasions. This project would not have come about without the initial participation of Dr. Nicole Moore, presently at the Australian Defence Force Academy, and formerly of Macquarie University. I wish to express my appreciation to Linda Young, my partner, for her patience and understanding over a long period of time. Without her support, this thesis would never have been brought to completion. I would like to thank Julie Cooney for her proofreading and formatting assistance. ix x Introduction Statue of Dr Norman Bethune, corner of De Maisonneuve Boulevard and Mackay Street, Montreal, photographer Marvin Gilman, 12 August 1990. 1 The initiative for this doctoral project began with the photographing of the above monument to Dr Norman Bethune in a triangular concrete island on De Maisonneuve Boulevard adjacent to the Sir George Williams Campus of Concordia University, Montreal, at which I completed my Bachelor of Arts degree in 1972. It made Canada’s best-known communist a part of the university milieu at this inner city institution. The appearance of this statue at such a location brought into play the imaginary and real attributes connected to the imagery of communism grounded in a local situation. Little did I realise that the investigation of Bethune’s statue would set off intensive research on the pervasive presence of communism in Australian and Canadian writing. The focus of this thesis is not the theory or practice or success or failure of communist ideology, but rather an investigation of the language tropes and metonymic conventions that functioned as a lexicon of the positive and negative aspects of this ideology through the genres of drama, fiction and poetry to the citizens of Australia and Canada. This study centres on cultural politics and identity politics, and in this particular case, political affiliation, which currently circulate as integral parts of contemporary critical practice. Bethune’s statue in Montreal is not an original but a copy of one at the Norman Bethune International Peace Hospital in Shih-chia Chang, People’s Republic of China. Not only did the Chinese communists dictate his elevation in the consciousness of Canadians, they also determined his appearance in public places. Bethune may have been a peripheral figure in the Canadian cultural sphere during his lifetime, but he has been the subject of numerous writings based on his life. This includes five biographies1, three specialised studies2, three produced plays3, a plethora of poetry including two complete books4, and two films5, 1 Ted Allan and Sydney Gordon, The Scalpel, the Sword: The Story of Dr Norman Bethune, (Toronto: McClelland and Stewart, 1952). See also Roderick Stewart, Bethune, (Toronto: new press, 1973); David A. E. Shepherd and Andree Levesque eds., Norman Bethune: His Time and His Legacy, (Ottawa: Canadian Public Health Association, 1982); Zhou Erfu, Doctor Norman Bethune, (Beijing: Foreign Language Press, 1982) and Larry Hannant ed., The Politics of Passion: Norman Bethune’s Writing and Art, (Toronto: University of Toronto Press, 1998). 2 Wendell MacLeod, Libbie Park, and Stanley Ryerson, Bethune The Montreal Years: An Informal Portrait, (Toronto: James Lorimer, 1978). See also Eugene P. Link, The T. B.’s Progress: Norman Bethune as Artist, (Plattsburg, NY: Center for the Study of Canada, 1991); and Roderick Stewart, The Mind of Norman Bethune, (Toronto: Fitzhenry and Whiteside, 1977). 3 Rod Langley, Bethune: a play, (Vancouver: Talonbooks, 1975). See also Ken Mitchell, Gone the Burning Sun, (Toronto: Playwrights Canada, 1985) and Ken Gass, Bethune Imagined, (Toronto: The Factory Theatre, 2010). 4 Peter Stevens, And the dying sun like blood: a Bethune collage for several voices, (Ottawa: Borealis Press, 1974). See also Sylvia Duvernet, Norman Bethune Memorial Poems, (Gravenhurst, ON: 1990). 5Donald Brittain, Bethune, (Ottawa: National Film Board of Canada, 1964). See also Philip Borsos, Bethune: The Making of a Hero, (Toronto: Filmline International, 1990). 2 the most extensive treatment appearing in 1990, the feature-length Bethune: The Making of a Hero. What is remarkable is the persistence of the Bethune legend into the twenty-first century, as the production of Bethune Imagined at the Factory Theatre in Toronto in November 2010 confirmed. This quantity of cultural material formulated him as a legend of national historic importance but elided the intelligibility of his signification. Bethune functioned in a dual capacity. In the era of the Stakhanovite, he fulfilled the attributes of Canada’s New Soviet Man from 1935 to 1939, which encompassed his membership in the Communist Party of Canada (CPC). Bethune needed the CPC and the CPC needed Bethune as their membership was almost entirely made up of migrants, Finns, Ukrainians and Jews; the scion of a prominent Anglo-Saxon establishment family was a valuable personage in their recruitment activities. His missions
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