DOCSLIB.ORG

PARASOLS ANTIPODEAN IT AL L

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PARASOLS ANTIPODEAN IT AL L RED PARASOLS 0 V E R AN ANTIPODEAN IT AL l J w A study of The Lone Hand and the people vho made it. A research thesis submitted to the school of History, University of New South Wales, as partial requirement for the degree of M.A. [Bonsl I I b r a d 1 e y f i t z m a u r i c e 1 9 8 6 , i ' ~ . , (- , , ~ \ . ' ' ( ; ._ ' . - . , ' - ~ , °'" / t , t r\ ".'\_ "- I r , . -~ , I , - ,-./ t· , . • ll , '-- ' "'-- /' ' ' I / • J / /'. , , 1 , - , ~ \ , ~ • 1 , ✓• \ , I._, I - ♦ \. \ \ \_ "- ) - /' -----..c ' \ , - , ~ ~ \ ' ~ - rl • ' "" I • ' / • ' ~•' ' - ' > •, ~ '- I ,ii,-·• 'y J '\ ~ ~ I' ' • ~ • / \ \ \ \ 'r I ABSTRACT Th• thesis examines THE LONE HAND, a literary/artistic offshoot of the BULLETIN and the first sophisticated, high quality, monthly magazine produced in Australia. Essentially the aim has been to construct a foundation upon which future work can build. Taking up Professor Michael Roe's (1976) observation that "historians have yet to recognise the significance of the LONE HAND," attention is drawn to the value of the magazine in terms of both the wealth of historical material it contains and the insight it offers into the development of Australian cultural traditions. It is argued that in adopting a cosmopolitan and optimistic outlook, THE LONE HAND represented a deliberate departure from the parochialism of the BULLETIN and in doing so spoke specifically to and for the interests of the emergent Australian suburban bourgeoisie. The magazine is considered within the broad socio-intellectual context from which it emerged as well as the prevailing trends in journalism and magazine production. Research has been almost exclusively based on primary material, namely, original copies of the magazine and personal manuscripts of the contributors. For my parents and Jo-Anne Co nt e n t s Acknowledgements ii Tables iii Illustrations iv Introduction vi 1. The Kingdom Of Nothingness Before The Storm l 2. Sunshine, Good Cooking And Red Umbrellas 12 3. The Editor's Uneasy Chair 22 4. The Men Who Made It 53 5. For The Public Good 63 Concluding Remarks 79 Appendix One 81 Appendix Two 84 Bibliography 85 i A c t n o v1 e d g e I e nt s muwan: - --- I am indebted to Martin Smith, Margot Hofacher, Gretta Kool, Lawrence Dunn, Jane Glad (nee Lindsay) who granted me access to her complete set of THE LONE HAND and to my supervisor, Dr. David Walker. ii Ta b I e s --- = -- = Facing Page 1. Major Literary Contributors To The Lone Hand 54 2. Contributions Under Editors (Authors) SS 3. Place Of Birth (Authors) 56 4. Age As Of 1907 (Authors) 56 s. Place Of Birth (Artists) 56 6. Age As Of 1907 (Artists) 56 7. Major Artistic Contributors 57 8. Contributions Under Editors (Artists) 58 All Tables compiled by author from material listed in Bibliography. iii I I I u s t r a t i o n s --· ..... Facing Page 1. Cover, The Lone Hand, May 1907 vi 2. A.G. Stephens 10 3. The Lone Hand On Sale 18 4. Advertisement, Champion's Vinegar 20 5. J.F. Archibald 22 6. Frank Fox 26 7. Cartoon, 'A Christmas Story' 27 8. Cover, The Lone Hand, February 1909 29 9. Cover, The Lone Hand, August 1908 33 10. Printer's Error Competition 36 11. Arthur H. Adams 41 12. Poem, 'From A Cremorne Balcony' 42 13. Editorial Announcement 44 14. Editorial Announcement 45 15. Cover, The Lone Hand, May 1910 46 16. Bertram Stevens 47 17. Low Caricatures 59 18. Low Caricatures 60 19. Advertisement, Wolfe's Schnapps 61 20. Cover, The Lone Hand, April 1909 62 21. Cover, The Lone Hand, January 1914 63 22. 'Circular Quay', Lionel Lindsay 76 iv In order that society should exist, and, a j'lortiori, that a society should prosper. it is required that all the minds of the citizens should be rallied and held together by certain predominant ideas •••• Alexis de Tocqueville, Democracy in America. In every literature's growth, there comes a stage when a primitive vigour must be refined to serve more sophisticated purposes. A.A. Phillips, The Famild Relationship. In vanished days of want and sin, The "Lone Hand" was the "Bulletin". The Lone Hand in the days of old, He worked alone in search of gold; The Lone Hand in the days of youth, He worked alone in search of Truth; The Lone Hand in the days of Might, He strikes alone to shield the Right. And countless scores in high co11111&nd Through all their lives played a lone hand. Oh! men and women, lined of brow! And boys and girls who play it now! Though cold looks freeze and hot tears scald, Stick to the right, like Archibald, And guide your future by the past - A loving Lone Hand till the last. Henry Lawson, THE LONE HAND, 1.11.1921. V rlAY 1907 PRI'CE l. Cover, THE LONE HAND, May 1907. , - .. , ...... I n t r a d u c t i o n THE LONE HAND was the first sophisticated high quality magazine of art and literature produced in Australia. A brave and daring venture, it was designed to transform the Kingdom of Nothingness into an Antipodean Italy. Coualncing publication in May 1907, THE LONE HAND was set up by t~e BULLETIN to provide • a vehicle through which Australian literary and artistic talent could be developed. Cultural standards within the new nation were to be enhanced by drawing from the experiences of the outside world. In effect, THE LONE HAND was intended as a declaration that the Australian nation had come of age. Advocating a departure from the gloom and despair of the wattle and bottle tradition that had been fostered by the BULLETIN in the late nineteenth century, THE LONE HAND actively encouraged "a sturdy optimism", endeavouring "to strike 1 a keynote of cheerfulness" in Australian life. Furthermore, unlike the BULLETIN, THE LONE HAND was purportedly apolitical, its only politics being "sunshine and good cooking, open air music and red umbrellas."2 It was a celebration of current prosperity. There was no promotion of radical class consciousness as there had been in the BUL~ETIN. Instead, THE LONE HAND disseminated a set of ideals and values emphasising national and cultural development, that were consistent with, indeed were a vital component of the prevailing bourgeois hegemony. 3 1. BULLETIN, 2 May 1907, p.24. 2. BULLETIN, 7 February 1907, p.9. 3. Connell has provided a useful definition of hegemony: "A situation where the subordinate class lives its daily life in forms created by, or consistent with the interests of the dominant class, and through this daily life acquires beliefs, emotions and ways of thinking that serve to perpetuate the class structure." C.R.W. Connell and T.H. Irving, CZass St'l'Ucture in AustraZian History, Melbourne, 1980; J.V. Femia, "The Gramsci Phenomenon: Some Reflect­ ions", PoZiticaL Studies, XXVII, 3, pp.472-483; J.V. Femia, "Hegemony and Consciousness in the Thought of Antonio Gramsci", PoZiticaZ Studies, XXIII, l,· pp.29-48; J. Howley, "Antonio Gramsci's Marxism: Class, State and Work", Social, ProbZems, 27, S, 1980, pp.542-600; G. Williams, "Gramsci's Concept of 'Egomania"', Journ.aZ of the History of Ideas, 21, 4, pp.586-599. vi Wh•r••• the BULLETIN.bad begun publication under so•what inauspicious ci~cuutanc•• and with a limited budget, THE LONE HAND wa• launched amidst considerable fanfare and it appears that no expense was spared in getting it to print which, according to an early prospectus, wa• done uaing "special paper, special type, special machinery [and] a special Mchanical staff."1 But money was unable to buy eventual success and, in contra•t to the raga to riches story of the BULLETIN, the story of THE LONE HAND 1a a slow, unfolding tragedy., The I first issue of THE LONE HAND, for which 50,000 copies.-bad been printed, sold out in three days, which led to the proprietors having to cancel all overseas consignments that had not been previously paid for. 2 The BULLETIN boasted that it was "the biggest sensation the trade has known. 113 The second issue sold out on the first day and by this time the magazine was receiving critical as well as commercial success - the Brisbane DAILY MAIL for example, declared that "the new magazine approximates to perfection ••• marking a new epoch in Australian literature."4 But this initial success was not sustained. In the face of falling subscript­ ions the successive editors were forced to implement a number of fundamental changes. The first of these came in May 1910 when Arthur Adams reduced the price of the magazine from one shilling to sixpence. In December 1913 Bertram Stevens, who had succeeded Adams, introduced a new series which appeared in a larger format and contained considerably less original material. On the outbreak of war in August 1914, the BULLETIN Co. sold its holdings and an independent company, THE LONE HAND Ltd. was formed, the major shareholder of which was Syd. Day The Printer Pty. Ltd. whose plant was located in the BULLETIN premises. In January 1919 an unknown sponsor assumed control and for the final two years (July 1919 - February 1921) the magazine was owned by A.A. Catts, New Century Press Ltd.5 1. BULLETIN, 4 April 1907, p.15. 2. THE LONE HAND (L.H.J, 'The Editor's Uneasy Chair' ('E.U.C.'), July 1907, p.xxi; BULLETIN, 9 May 1907, p.15. 3. BULLETIN, 9 May 1907, p.15. 4. Cited in 'E.U.C.', April 1908, p.vii.
Load more

Recommended publications
  • Ballarat 2013 Pty Douglas Stewart Fine Books Ltd Melbourne • Australia # 4074
    BALLARAT 2013 PTY DOUGLAS STEWART FINE BOOKS LTD MELBOURNE • AUSTRALIA # 4074 Print Post Approved 342086/0034 Add your details to our email list for monthly New Acquisitions, visit www.DouglasStewart.com.au Ballarat Antique Fair 9-11 March 2013 # 4076 PTY DOUGLAS STEWART FINE BOOKS LTD PO Box 272 • Prahran • Melbourne • VIC 3181 • Australia • +61 3 9510 8484 [email protected] • www.DouglasStewart.com.au Some account of my doings in Australia from 1855 to 1862. REYNOLDS, Frederick AN APPARENTLY UNPUBLISHED AUTOBIOGRAPHICAL ACCOUNT OF LIFE ON THE VICTORIAN GOLDFIELDS DURING THE 1850s. Circa 1870. Manuscript written in ink on [27] pp, being one gathering from a contemporary quarto size notebook, the text complete in itself, titled on first page Some account of my doings in Australia from 1855 to 1862; written in one hand throughout and signed by the author Frederick Reynolds at the foot of the final page; beneath this signature is written in pencil in a slightly later hand (probably that of a family member) Husband of Guglielma Melford; the handwriting throughout the manuscript is bold, neat and entirely legible, and Reynolds’ expression is that of a literate, reasonably well-educated person; the thickish notepaper, of a type consistent with an 1870s dating, is toned around the edges but is extremely well preserved and shows no signs of brittleness; the black ink displays a higher level of oxidisation (ie. is slightly browner) on the exposed first page than on the inner pages of the manuscript, as should be expected. The narrative reveals that Frederick Reynolds was an English miner from Bridgewater in Somerset.
    [Show full text]
  • The Scottish Background of the Sydney Publishing and Bookselling
    NOT MUCH ORIGINALITY ABOUT US: SCOTTISH INFLUENCES ON THE ANGUS & ROBERTSON BACKLIST Caroline Viera Jones he Scottish background of the Sydney publishing and bookselling firm of TAngus & Robertson influenced the choice of books sold in their bookshops, the kind of manuscripts commissioned and the way in which these texts were edited. David Angus and George Robertson brought fi'om Scotland an emphasis on recognising and fostering a quality homegrown product whilst keeping abreast of the London tradition. This prompted them to publish Australian authors as well as to appreciate a British literary canon and to supply titles from it. Indeed, whilst embracing his new homeland, George Robertson's backlist of sentimental nationalistic texts was partly grounded in the novels and verse written and compiled by Sir Walter Scott, Robert Bums and the border balladists. Although their backlist was eclectic, the strong Scottish tradition of publishing literary journals, encyclopaedias and religious titles led Angus & Robertson, 'as a Scotch firm' to produce numerous titles for the Presbyterian Church, two volumes of the Australian Encyclopaedia and to commission writers from journals such as the Bulletin. 1 As agent to the public and university libraries, bookseller, publisher and Book Club owner, the firm was influential in selecting primary sources for the colony of New South Wales, supplying reading material for its Public Library and fulfilling the public's educational and literary needs. 2 The books which the firm published for the See Rebecca Wiley, 'Reminiscences of George Robertson and Angus & Robertson Ltd., 1894-1938' ( 1945), unpublished manuscript, Mitchell Library, State Library of New South Wales, ML MSS 5238.
    [Show full text]
  • Australian Poems You NEED to KNOW
    1OO Australian Poems You NEED TO KNOW Edited by Jamie Grant Foreword by Phillip Adams hardiegrant books MELBOURNE-LONDON Convict and Stockrider A Convict's Tour to Hell Francis Macnamara ('Frank the Poet') 16 The Beautiful Squatter Charles Harpur 22 Taking the Census Charles R Thatcher 23 The Sick Stockrider Adam Lindsay Gordon 25 The Red Page My Other Chinee Cook James Brunton Stephens 30 Bell-birds Henry Kendall 32 Are You the Cove? Joseph Furphy ('Tom Collins') 34 How McDougal Topped the Score Thomas E Spencer 35 The Wail of the Waiter Marcus Clarke 38 Where the Pelican Builds Mary Hannay Foott 40 Catching the Coach Alfred T Chandler ('Spinifex') 41 Narcissus and Some Tadpoles Victor J Daley 44 6 i Contents Gundagai to Ironbark Nine Miles from Gundagai Jack Moses 48 The Duke of Buccleuch JA Philp 49 How We Drove the Trotter WTGoodge 50 Our Ancient Ruin 'Crupper D' 52 The Brucedale Scandal Mary Gilmore 53 Since the Country Carried Sheep Harry Morant ('The Breaker') 56 The Man from Ironbark AB Paterson (The Banjo') 58 The Old Whimrhorse Edward Dyson 60 Where the Dead Men Lie Barcroft Boake 62 Australia Bernard O'Dowd , 64 The Stockman's Cheque EW Hornung 65 The Bullocky's Love-episode AF York 67 Bastard and Bushranger «<§!> The Bastard from the Bush Anonymous 70 When your Pants Begin to Go Henry Lawson 72 The Fisher Roderic Quinn 74 The Mystery Man 'NQ' 75 Emus Mary Fullerton 76 The Death of Ben Hall Will H Ogilvie 77 The Coachman's Yarn EJ Brady 80 Fire in the Heavens, and Fire Along the Hills Christopher Brennan 83 The Orange Tree
    [Show full text]
  • Edmund Barton and the 1897 Federal Convention
    The Art of Consensus: Edmund Barton and the 1897 Federal Convention The Art of Consensus: Edmund Barton and the 1897 Federal Convention* Geoffrey Bolton dmund Barton first entered my life at the Port Hotel, Derby on the evening of Saturday, E13 September 1952. As a very young postgraduate I was spending three months in the Kimberley district of Western Australia researching the history of the pastoral industry. Being at a loose end that evening I went to the bar to see if I could find some old-timer with an interesting store of yarns. I soon found my old-timer. He was a leathery, weather-beaten station cook, seventy-three years of age; Russel Ward would have been proud of him. I sipped my beer, and he drained his creme-de-menthe from five-ounce glasses, and presently he said: ‘Do you know what was the greatest moment of my life?’ ‘No’, I said, ‘but I’d like to hear’; I expected to hear some epic of droving, or possibly an anecdote of Gallipoli or the Somme. But he answered: ‘When I was eighteen years old I was kitchen-boy at Petty’s Hotel in Sydney when the federal convention was on. And every evening Edmund Barton would bring some of the delegates around to have dinner and talk about things. I seen them all: Deakin, Reid, Forrest, I seen them all. But the prince of them all was Edmund Barton.’ It struck me then as remarkable that such an archetypal bushie, should be so admiring of an essentially urban, middle-class lawyer such as Barton.
    [Show full text]
  • 1 Cathy Perkins. the Shelf Life of Zora Cross. Clayton
    Cathy Perkins. The Shelf Life of Zora Cross. Clayton: Monash University Publishing, 2020. 285 pp. A$29.95. ISBN: 978-1-925835-53-3 Once a week for two years, I caught the bus from West End to Teneriffe in Brisbane for French classes, stepping off at Skyring Terrace near the new Gasworks Plaza. I was terrible at French and never did my homework, but I persisted out of a lifelong dream of writing in Paris. When I picked up Cathy Perkins’s The Shelf Life of Zora Cross, I realised that I was walking a street with a literary connection: Skyring was the surname of writer Zora Cross’s grandfather. Chance encounters bring us to poetry. In the basement of the Mitchell Library in NSW, a collection of letters led researcher Cathy Perkins to the author of the enormously popular Songs of Love and Life, published in 1917. Although this work sold four thousand copies via three reprints, by the time of Cross’s death in 1964 the author was slipping into obscurity. Two efforts had been made to draw attention to her importance in Australia’s literary history: Dorothy Green’s Australian Dictionary of Biography entry (1981) and an attempted biography by Michael Sharkey which was abandoned in favour of a biography of Cross’s partner, writer David McKee Wright. By the mid-1980s, Perkins writes, Cross had ‘fallen so far from literary consciousness that poets Judith Wright and Rosemary Dobson felt safe in recommending that the Australian Jockey Club name a horserace after her’ (86–87). By contrast Perkins, when she found a reference to Songs of Love and Life in the basement among the letters of George Robertson, publisher at Angus and Robertson, she was captivated.
    [Show full text]
  • The Bulletin Story Book a Selection of Stories and Literary Sketches from “The Bulletin”
    The Bulletin Story Book A Selection of Stories and Literary Sketches from “The Bulletin” A digital text sponsored by Australian Literature Gateway University of Sydney Library Sydney http://purl.library.usyd.edu.au/setis/id/bulstor © University of Sydney Library. The texts and images are not to be used for commercial purposes without permission 2003 Source Text: Prepared from the print edition published by The Bulletin Newspaper Company Sydney 1902 303pp Extensive efforts have been made to track rights holders Please let us know if you have information on this. All quotation marks are retained as data. First Published: 1901 A823.8909/1 Australian Etext Collections at short stories 1890-1909 The Bulletin Story Book A Selection of Stories and Literary Sketches from “The Bulletin” Sydney The Bulletin Newspaper Company 1902 2nd Edition Prefatory THE files of The Bulletin for twenty years offer so much material for a book such as this, that it was not possible to include more than a small number of the stories and literary sketches judged worthy of republication. Consequently many excellent Australian writers are here unrepresented, their work being perforce held over for The Second Bulletin Story Book, although it is work of a quality equal to that which is now given. The risk and expense of this publication are undertaken by The Bulletin Newspaper Company, Limited. Should any profits accrue, a share of forty per cent, will be credited to the writers represented. Owing to the length of time which, in some cases, has elapsed since the original publication in The Bulletin, the names and addresses of some of the writers have been lost sight of; and their work appears over pen-names, The editor will be glad if these writers will communicate with him and assist in completing the Biographical Index at the end of the book.
    [Show full text]
  • Download This PDF File
    Illustrating Mobility: Networks of Visual Print Culture and the Periodical Contexts of Modern Australian Writing VICTORIA KUTTAINEN James Cook University The history of periodical illustration offers a rich example of the dynamic web of exchange in which local and globally distributed agents operated in partnership and competition. These relationships form the sort of print network Paul Eggert has characterised as being shaped by everyday exigencies and ‘practical workaday’ strategies to secure readerships and markets (19). In focussing on the history of periodical illustration in Australia, this essay seeks to show the operation of these localised and international links with reference to four case studies from the early twentieth century, to argue that illustrations offer significant but overlooked contexts for understanding the production and consumption of Australian texts.1 The illustration of works published in Australia occurred within a busy print culture that connected local readers to modern innovations and technology through transnational networks of literary and artistic mobility in the years also defined by the rise of cultural nationalism. The nationalist Bulletin (1880–1984) benefited from a newly restricted copyright scene, while also relying on imported technology and overseas talent. Despite attempts to extend the illustrated material of the Bulletin, the Lone Hand (1907–1921) could not keep pace with technologically superior productions arriving from overseas. The most graphically impressive modern Australian magazines, the Home (1920–1942) and the BP Magazine (1928–1942), invested significant energy and capital into placing illustrated Australian stories alongside commercial material and travel content in ways that complicate our understanding of the interwar period. One of the workaday practicalities of the global book trade which most influenced local Australian producers and consumers prior to the twentieth century was the lack of protection for international copyright.
    [Show full text]
  • Australian Elegy: Landscape and Identity
    Australian Elegy: Landscape and Identity by Janine Gibson BA (Hons) Submitted in fulfilment of the requirements for the degree of (Doctor of Philosophy) Deakin University December, 2016 Acknowledgments I am indebted to the School of Communication and Creative Arts at Deakin University (Geelong), especially to my principal supervisor Professor David McCooey whose enthusiasm, constructive criticism and encouragement has given me immeasurable support. I would like to gratefully acknowledge my associate supervisors Dr. Maria Takolander and Dr. Ann Vickery for their interest and invaluable input in the early stages of my thesis. The unfailing help of the Library staff in searching out texts, however obscure, as well as the support from Matt Freeman and his helpful staff in the IT Resources Department is very much appreciated. Sincere thanks to the Senior HDR Advisor Robyn Ficnerski for always being there when I needed support and reassurance; and to Ruth Leigh, Kate Hall, Jo Langdon, Janine Little, Murray Noonan and Liam Monagle for their help, kindness and for being so interested in my project. This thesis is possible due to my family, to my sons Luke and Ben for knowing that I could do this, and telling me often, and for Jane and Aleisha for caring so much. Finally, to my partner Jeff, the ‘thesis watcher’, who gave me support every day in more ways than I can count. Abstract With a long, illustrious history from the early Greek pastoral poetry of Theocritus, the elegy remains a prestigious, flexible Western poetic genre: a key space for negotiating individual, communal and national anxieties through memorialization of the dead.
    [Show full text]
  • Introduction: Performing Cosmopolitics Chapter 1 (Anti-)Cosmopolitan
    Notes Introduction: performing cosmopolitics 1 Unattributed feature article, Australian, 16 September 2000, p. 6. 2 Although the riots resulted directly from a series of locally staged tensions revolving around beach territoriality and male youth culture, the anti-Arab sentiments expressed by demonstrators and circulated by the media tapped into a much wider context of racism provoked by Australia’s participation in the US-led anti-terrorism alliance, the bombings of Australian tourists in Bali by Islamic militants, and a high-profile case of the rape of Caucasian girls by a gang of Lebanese youths in 2002. 3 Federal Government of Australia. (1994) Creative Nation: Common- wealth Cultural Policy. <http://www.nla.gov.au/creative.nation/intro.html> (accessed 19 July 2005). 4 The Immigration Restriction Act of 1901 was the cornerstone of the ‘White Australia Policy’ aimed at excluding all non-European migration. The Act was enforced through the use of a dictation test, similar to the one used in South Africa, which enabled authorities to deny entry to any person who was not able to transcribe a passage dictated in a designated European language. The Act remained in force until 1958. 5 Many Australians who voted ‘no’ in fact supported the idea of a republic but did not agree with the only model offered by the ballot. For detailed analysis of the referendum’s results, see Australian Journal of Political Science, 36:2 (2001). 6 See Veronica Kelly (1998a: 9–10) for a succinct overview of significant studies in contemporary Australian theatre
    [Show full text]
  • A Critical Biography of Henry Lawson
    'From Mudgee Hills to London Town': A Critical Biography of Henry Lawson On 23 April 1900, at his studio in New Zealand Chambers, Collins Street, Melbourne, John Longstaff began another commissioned portrait. Since his return from Europe in the mid-1890s, when he had found his native Victoria suffering a severe depression, such commissions had provided him with the mainstay to support his young family. While abroad he had studied in the same Parisian atelier as Toulouse­ Lautrec and a younger Australian, Charles Conder. He had acquired an interest in the new 'plein air' impressionism from another Australian, Charles Russell, and he had been hung regularly in the Salon and also in the British Academy. Yet the successful career and stimulating opportunities Longstaff could have assumed if he had remained in Europe eluded him on his return to his own country. At first he had moved out to Heidelberg, but the famous figures of the local 'plein air' school, like Tom Roberts and Arthur Streeton, had been drawn to Sydney during the depression. Longstaff now lived at respectable Brighton, and while he had painted some canvases that caught the texture and tonality of Australian life-most memorably his study of the bushfires in Gippsland in 1893-local dignitaries were his more usual subjects. This commission, though, was unusual. It had come from J. F. Archibald, editor of the not fully respectable Sydney weekly, the Bulletin, and it was to paint not another Lord Mayor or Chief Justice, First published as the introduction to Brian Kiernan, ed., The Essential Henry Lawson (Currey O'Neil, Kew, Vic., 1982).
    [Show full text]
  • University of Queensland Library
    /heuhu} CATALOGUE OF MANUSCRIPTS from THE HAYES COLLECTION In tlie UNIVERSITY OF QUEENSLAND LIBRARY edited by Margaret Brenan, Marianne Ehrhardt and Carol Heiherington t • i w lA ‘i 1 11 ( i ii j / | ,'/? n t / i i / V ' i 1- m i V V 1V t V C/ U V St Lucia, University of Queensland Library 1976 CATALOGUE OF MANUSCRIPTS from THE HAYES COLLECTION CATALOGUE OF MANUSCRIPTS from THE HAYES COLLECTION in the UNIVERSITY OF QUEENSLAND LIBRARY edited by Margaret Brenan, Marianne Ehrhardt and Carol Hetherington St Lucia, University of Queensland Library 1976 Copyright 1976 University of Queensland Library National Library of Australia card number and ISBN 0 9500969 8 9 CONTENTS Page Frontispiece: Father Leo Hayes ii Foreword vii Preface ix Catalogue of the Hayes Manuscript Collection 1 Subject index 211 Name index: Correspondents 222 Name index - Appendix 248 Colophon 250 V Foreword University Libraries are principally agencies which collect and administer collections of printed, and in some cases, audio-visual information. Most of their staff are engaged in direct service to the present university community or in acquiring and making the basic finding records for books, periodicals, tapes and other information sources. Compiling a catalogue of manuscripts is a different type of operation which university libraries can all too seldom afford. It is a painstaking, detailed, time-consuming operation for which a busy library and busy librarians find difficulty in finding time and protecting that time from the insistent demand of the customer standing impatiently at the service counter. Yet a collection of manuscripts languishes unusable and unknown if its contents have not been listed and published.
    [Show full text]
  • The Shelf Life of Zora Cross
    THE SHELF LIFE OF ZORA CROSS Cathy Perkins A thesis submitted in fulfilment of requirements for the degree of Master of Arts Research in History University of Sydney 2016 Cathy Perkins, Zora Cross, MA thesis, 2016 I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: Cathy Perkins Date: 14 July 2016 ii Cathy Perkins, Zora Cross, MA thesis, 2016 Abstract Zora Cross (1890–1964) is considered a minor literary figure, but 100 years ago she was one of Australia’s best-known authors. Her book of poetry Songs of Love and Life (1917) sold thousands of copies during the First World War and met with rapturous reviews. She was one of the few writers of her time to take on subjects like sex and childbirth, and is still recognised for her poem Elegy on an Australian Schoolboy (1921), written after her brother was killed in the war. Zora Cross wrote an early history of Australian literature in 1921 and profiled women authors for the Australian Woman’s Mirror in the late 1920s and early 1930s. She corresponded with prominent literary figures such as Ethel Turner, Mary Gilmore and Eleanor Dark and drew vitriol from Norman Lindsay. This thesis presents new ways of understanding Zora Cross beyond a purely literary assessment, and argues that she made a significant contribution to Australian juvenilia, publishing history, war history, and literary history. iii Cathy Perkins, Zora Cross, MA thesis, 2016 Acknowledgements A version of Chapter 3 of this thesis was published as ‘A Spoonful of Blood’ in Meanjin 73, no.
    [Show full text]