The Defendant (Spring, 2017)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Haunted Landscapes of James Mcauley
Writing from the Periphery: the haunted landscapes of James McAuley JEAN PAGE University of Lisbon In a comparative approach, this paper addresses the influence of important precursors on James McAuley’s early poetry, its forms, themes and motifs, notably in the early work, what might be described as ‘landscape’ poems, and especially how translation functioned in his apprenticeship. The second part of the paper examines McAuley’s successful return to the lyric landscape in the last decade of his life, and his apparent journey through a new phase of influences, dedications and appropriations. The term ‘landscape’ I do not use as a technical term, but rather as a word which best fits the poems I wish to describe which have, generally, a pictorial quality of images organised in a recognisable setting, a scene perhaps, often taken from nature and often adjacent to a more human-built environment, often featuring human figures or at least the gaze of a human onlooker, as well as that of the ‘reader’ onlooker. While Chris Wallace–Crabbe and David Bradley have commented on McAuley’s early landscape poems, including the concept of interior landscape, and there has been considerable comment on his later landscape poems influenced by Georg Trakl (notably by Gary Catalano, Carmel Gaffney, Peter Kirkpatrick, Igor Maver and Vivian Smith), this paper draws a link between the early and the later landscape poems. In addition, it further develops the recognition by Lyn McCredden and Noel Macainsh of the importance of translation in McAuley’s work. The Early Landscape Poems Between 1936 and 1938, the young aspiring poet James McAuley, then writing under the initials ‘JMc’, wrote what has become one of his most anthologised poems, ‘Envoi’, a poem of four quatrains of alternating rhyme (Collected Poems, 6). -
An Introduction to the Life and Work of Amy Witting
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship... 'GOLD OUT OF STRAW': AN INTRODUCTION TO THE LIFE AND WORK OF AMY WITTING Yvo nne Miels - Flin ders University It is rather unusual for anyone to be in their early seventies before being recognised as a writer of merit. In this respect Amy Wining must surely be unique amongst Australian writers. Although she has been writing all her life, she was 71 when her powerful novel I for Isabel was published, in late 1989. This novel attracted considerable critical attention, and since then most of the backlog of stories and poetry written over a lifetime have been published. The 1993 Patrick White Award followed and she became known to a wider readership. The quality and sophistication of her work, first observed over fifty years ago, has now been generally acknowledged. Whilst Witting has been known to members of the literary community in New South Wales for many years, her life and work have generally been something of a literary mystery. Like her fictional character Fitzallan, the ·undiscovered poet' in her first novel Th e Visit ( 1977). her early publications were few, and scattered in Australian literary journals and short-story collections such as Coast to Coast. While Fitzallan's poetry was 'discovered' forty years after his death, Witting's poetry has been discovered and published, but curiously, it is absent from anthologies. For me, the 'mystery' of Amy Witting deepened when the cataloguing in-publication details in a rare hard-back copy of Th e Visit revealed the author as being one Joan Levick. -
The Devil Andjames Mcauley
The Devil and james McAuley: The Making of a Cold War Warrior CASSANDRA PYBUS, WRITER AND HISTORIAN, TASMANIA saw Jim McAuley only once - it could have been in 1971 - at a Peace with Freedom function at Sydney University. Or was it the Association for Cultural Freedom? Leonie Kramer was there. I was a member of SDS (Students for a DemocraticI Society), and had come with my boyfriend to see what Peace With Freedom were up to. I recall thinking that McAuley, who represented everything despicable to us, was a surpringly small man. His deeply etched face suggested he had taken quite a bit of punishment in his time, while his voice, so clearly tutored into its cultured modulations, was almost feminine. He had a presence, there was no denying that, but with my predisposition to regard McAuley as the enemy - the boyfriend was also a modem poet - I was unable to detect the charisma about which I have since heard so much. When he was at university in the late thirties, McAuley cut a dazzling figure among his admiring university cohorts, as Michael Heyward makes clear in The Em Malley Affair. Everyone was in awe of him. He could dominate a room on entry. Wildly funny he was a master of the sardonic and given to outrageous puns and scarifying repartee. The shoddy world he perceived around him provided plenty of fuel for contempt, and he showed no fear or favour when it came to making someone look like a fool. To add to his lustre, McAuley was a brilliant and inventive pianist. -
The Sydney Intellectual/ Religious Scene, 1916–2016
The Sydney intellectual/ religious scene, 1916–2016 James Franklin Strictly speaking, there is no intellectual/religious “scene” in Sydney, in the sense that there is, say, a folk music scene. A “scene” has groups which know one another and an audience that cycles through them. But with religion it is much more a matter of individual denominational silos with little interaction in the sphere of ideas and debate. There is no regular gathering in theology or religion that fulfils the role in the philosophy world of the annual Australasian Philosophy Conference. The century-old, interdenominational Heretics Club at Sydney University,1 which this journal issue celebrates, is a rare exception. But a dozen people meeting almost under cover of darkness do not constitute a “scene”. Nor has Sydney had any high-profile religious figure in its public life comparable to Archbishop Mannix in Melbourne. Hilary Carey wrote in the Dictionary of Sydney, “Religion has not been a notably creative force in Sydney’s cultural life and the city is conspicuously lacking in prophets or founders of new religions.”2 That has contributed to a poor penetration of local intellectual life by religious views. Furthermore, Sydney, unlike Melbourne, has a reputation of being anti- intellectual in religion, with Catholic life being shaped by the long reigns of the unintellectual Archbishops Kelly and Gilroy,3 Sydney evangelicals suspecting the fallenness of human reason, and Presbyterians hunting heretics. Archbishop Kelly was more concerned with the evils of mixed bathing, his Anglican counterpart Archbishop Wright with the opening of the Royal Easter Show on Good Friday. -
—It's, Like, POETRY, Man“
“It’s, like, POETRY, man” The Generation of ’68 and other modern Australian verse. CATALOGUE THIRTY-THREE WINTER 2010 Front cover illustration: no. 116. Back covr illustration: no. 34. Books are offered subject to prior sale at the nett prices in Australian dollars. All prices include Australian Federal Government Goods and Services Tax. Freight and insurance are extra and will be added to your invoice. Overseas customers will be invoiced in Australian dollars and are requested to remit payment in Australian dollars only. Books will be sent by airmail. Orders may be left at any time on our 24-hour answer phone (03) 9853 8408 (International +613 9853 8408) or by email – [email protected] or [email protected] or by mail to PO Box 325 KEW VICTORIA 3101 AUSTRALIA We accept Mastercard and Visa. Please advise card number, ccv number, expiry date, and name as it appears on your card. Payment is due on receipt of books. Customers not known to us may be sent a pro forma invoice. Any item may be returned within five days of receipt if we are notified immediately. Normal trade courtesies are observed where a reciprocal arrangement exists. Australian and New Zealand Association of Antiquarian Booksellers Printed, typeset and bound in Australia for New Century Antiquarian Books. Copyright © Jonathan Wantrup 2010. All rights reserved. No part of this publication my be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the prior permission of New Century Antiquarian Books. [1] ADAMSON, Cheryl and Chris EDWARDS (editors), Robert Adamson (design). -
Mid-Century Responses to Modernism
Chapter 4.'A Tradition of Conservatism': Mid-Century Responses to Modernism While a number of early to mid-century Australian poets can be shown to have engaged in some of the central debates of modernism, few can be said to have advocated the kind of radical stylistic experimentation and innovation characteristic of European and American modernism. This lack of radical stylistic innovation and experimentation has been noted by numerous critics, and tends to support Tranter's view that Australian poetry before the New Poetry period had been dominated by a 'tradition of conservatism.'1 Martin Harrison has described the work of Australian poets before the New Poetry, noting in their poetry: The certainty of persona-voice, the clarity of ostensive reference, the sup• pression of metaphor and image-reference in the central thought, [and] the resolution of that thought in conclusiveness... ? Alexander Craig, in his introduction to the Twelve Poets anthology in 1971, also pointed to a 'general conservatism or lack of experiment in Australian poetry' which he saw as being 'accompanied by a discursive, over-explanatory dullness in many poems. '3 Harrison's and Craig's views are supported by other critics. According to Julian Croft, neither Slessor, nor Wilmot - the two poets most often associated with modernist innovations - responded to the new stylistic directions for poetry in the twenties.4 While suggesting that Bertram Higgins' poem, '"Mordecaius" Overture' (1933) as Australia's first 'modernist' poem,5 Croft argues that it was not until the late thirties and early forties, with Slessor's 'Five Bells' and R D FitzGerald's poems 'The Hidden Bole,' 'Essay on Memory' and 'The Face on the Waters' that Tranter, The Xew Australian Poetry: xvii. -
Mccullouch Text
IV ARGUMENT AND COMMENTARY ON CRITICS AND WRITERS The notebooks record with humour, impartial argument and sometimes with passionate fury Hope’s views on the art and/or the disease of criti- cism. His distaste for free verse and its associated side effects is expressed through analogies with other disciplines or by drawing on modes of operation of social structures.Within these large frameworks, Hope takes on writers, critics, poets and artists who have dared to stray into the ‘enemy’ camp. Hope does not hold back when he comes across fraudulent research, incoherence and vanity among celebrated writers and critics. Robert Graves, Yvor Winters and F. R. Leavis are some of the writers who are recipients of Hope’s scorn. This section also communicates the extent to which Hope was amused, informed or titillated by what he terms ‘literary gossip’. I have also chosen to include in this chapter samples of his commitment to poets, writers, thinkers, artists and friends who he believed had made his life richer. TRAVEL NOTES 1958 (a) After a year spent in visiting the great universities and the great page 97 libraries of the English-speaking world I find myself more and more Dance of the Nomad oppressed by the bulk and weight of studies which appear no longer to be determined by what there is to study but by the number of those who teach and study and the need to publish [a] as means of advance- ment or mere maintenance and subsistence. The study of literature, in my life-time, has changed from an ancillary service, conscious that its life and its purpose were secondary and to some extent parasitic, into a great industry using literature as its raw material and concerned to find enough of this material to provide for the starving and multiplying hordes of research workers. -
Transformation, Paradox and Continuity in the Poetry of James Mcauley
UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS “So many voices urging:” Transformation, Paradox and Continuity in the Poetry of James McAuley Rosemary Jean Page Orientador: Prof. Doutor Mário Vítor Fernandes Araújo Bastos, Professor Auxiliar, Faculdade de Letras da Universidade de Lisboa Tese especialmente elaborada para obtenção do grau de Doutor no ramo de Estudos da Literatura e Cultura, na Especialidade de Estudos da Literatura e Cultura de Expressão Inglesa 2018 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS “So many voices urging:” Transformation, Paradox and Continuity in the Poetry of James McAuley Rosemary Jean Page Orientador: Prof. Doutor Mário Vítor Fernandes Araújo Bastos Tese especialmente elaborada para obtenção do grau de Doutor no ramo de Estudos da Literatura e Cultura, na Especialidade de Estudos da Literatura e Cultura de Expressão Inglesa Júri: Presidente: Doutora Maria Cristina de Castro Maia de Sousa Pimentel, Professora Catedrática e Membro do Conselho Científico da Faculdade de Letras da Universidade de Lisboa Vogais: - Doutor François-Xavier Giudicelli, Maître de Conférences, Département d’Anglais, UFR Lettres et Sciences Humaines, Université de Reims Champagne-Ardenne, França - Doutor Kenneth David Callahan, Professor Associado, Departamento de Línguas e Culturas da Universidade de Aveiro - Doutora Isabel Maria da Cunha Rosa Fernandes, Professora Catedrática, Faculdade de Letras da Universidade de Lisboa - Prof. Doutor Mário Vítor Fernandes Araújo Bastos, Professor Auxiliar, Faculdade de Letras da Universidade de Lisboa - Doutora Maria Teresa Correia Casal, Professora Auxiliar, Faculdade de Letras da Universidade de Lisboa 2018 i ii Copyright information The copyright of this thesis is held by the Universidade de Lisboa The copyright of James McAuley is held by the James McAuley Estate (executor Curtis Brown, Sydney) iii DEDICATÓRIA Time out of mind And out of the heart too Yet I am not resigned To be what I do. -
Ern Malley' James Mcauley Harold Stewart
'Ern Malley' James McAuley Harold Stewart Max Harris John Reed McAuley and Stewart then sent Harris their In the 1940's, Angry Penguins was a magazine work and a letter under the name of Ethel for the Australian literary and artistic avant Malley (Ern's supposed sister). Harris was garde movement published by the surrealist ecstatic, deeming Malley in the class of poet MAX HARRIS. It had a strong focus on Dylan Thomas. His fiends agreed. He then publishing modernist poetry. Before the rushed out a special edition of Angry Second World War, JAMES MCAULEY Penguins.Not all were convinced. An article (who later worked at Middle Head) and in the Adelaide University student paper HAROLD STEWART had been part of suggested that Harris had penned the poems Sydney's Bohemian arts world. They decried as some form of elaborate hoax. the evolution of early Modernism to later Subsequently, Harris hired a private forms that could best described as incoherent investigator to find Ethel Malley. Later the messes. They lamented the loss of Sydney Sunday Sun reported that the poems craftmanship and of meaning in poetry. had been written by McAuley and Stewart. So they decided to hoax Harris and his co editor JOHN REED. They constructed a fictional biography for 'Ernest Lalor Malley' a The Ern Malley hoax poet who it was claimed had died at the age had longlasting of 25. Then in one afternoom, they penned an repercussions. The entire body of work (to be ascribed to Malley) Australian movement seventeen poems of a page or less each. -
Land of Apocalypse: James Mcauley's Encounter with the Spirit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Universidade de Lisboa: Repositório.UL Land of Apocalypse: James McAuley’s Encounter with the Spirit: the French Catholic Missions of the Sacred Heart, Kubuna and Yule Island, New Guinea Jean Page* Abstract The Australian poet and aspiring, if polemic, public intellectual James McAuley was admitted to the Catholic faith in May 1952. He was 34. Testimonies from his notebooks, correspondence, essays and poems from that period suggest the significant role in his “conversion” of his encounter with the French Catholic Mission of the Sacred Heart in Kubuna, in his visits to New Guinea as lecturer at the Australian School of Pacific Studies (ASOPA). McAuley’s encounter with New Guinea, described as a “school of sanctity”, can be seen as the culmination of his ongoing dialectic in essays at that time on the spiritual condition and the loss of tradition in contemporary mid-twentieth century post-Christian society. He considered his own time to be part of a wider post-Renaissance epoch he named “modernity” (The End of Modernity, 1959). This paper examines these testimonies, including key poems, from 1951-1953 to show how McAuley’s view of what he saw as the originary world of New Guinea emerging into a materialist mid-twentieth century reinforced his dark vision of modernity. In particular the paper focusses on how McAuley saw the western Catholic tradition, as interpreted by the French Catholic mission in Kubuna, including its charismatic Archbishop Alain de Boismenu and the legendary mother-superior Marie Thérèse Noblet, as offering respite for the New Guinea people and, in the end, himself in a global post-colonial encounter with modernity. -
Australia: Sydney and the Great Barrier Reef
Australia: Sydney and the Great Barrier Reef Whitman-Hanson Global Awareness Program School Trip - February 2020 Table of Contents Map of Australia ........................................................................................................................................... 4 Introduction ................................................................................................................................................... 5 Why travel? And, why travel to Australia? ............................................................................................... 5 Days 1-2: We’re airborne .............................................................................................................................. 8 Day 3: Welcome to Australia! ...................................................................................................................... 8 Sydney ...................................................................................................................................................... 9 Day 4: National Opal Collection ................................................................................................................. 10 Land and Water ....................................................................................................................................... 10 Opals ....................................................................................................................................................... 13 Australian History .................................................................................................................................. -
The Phoenix Magazine and Australian Modernism Cheryl Hoskin
“A Genius About the Place”: The Phoenix Magazine and Australian modernism Cheryl Hoskin Originally presented as a History Festival exhibition, University of Adelaide Library, May 2013. If it is possible at this time still to feel the importance of poetry, Adelaide is now in an interesting condition. There are signs here that the imagination is stirring, and that if it has a chance it will give us something of our own. There is a genius about the place; and genius as a neighbour is exciting even at this dreadful moment. (C.R. Jury, Angry Penguins 1940) The literary, particularly poetic, upsurge wrought by the Angry Penguins journal began in 1935 with Phoenix, centred at the University of Adelaide. The decision of the editors to change the ‘jolly old school magazine’ format of the Adelaide University Magazine to a completely literary journal started a seminal period in Australia’s cultural history. Phoenix published works ranging from the nationalistic poetry of Rex Ingamells and the Jindyworobaks Club to the avant-garde modernist verse of Max Harris, D.B. Kerr and Paul Pfeiffer, with art by John Dowie and Dorrit Black, among others. During 1940, in reaction to withdrawal of funding for Phoenix, Harris, Kerr, Pfeiffer and Geoffrey Dutton founded the influential Angry Penguins magazine which sought to promote internationalism and ‘a noisy and aggressive revolutionary modernism’ to Australian culture. Why did the relatively conservative University of Adelaide become the ‘literary hotbed’ of Australian modernism? A faculty of some distinction, the creative support of Professors C.R. Jury and J.I.M. Stewart, a University Union which encouraged student participation and debate though the Arts Association and the student newspaper On Dit, the modern literature available through the newly built Barr Smith Library and Preece’s Bookshop, and the collegiality of St Mark’s College all played a role.