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Book History in Australia Since 1950 Katherine Bode Preprint: Chapter 1

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Book History in Australia Since 1950 Katherine Bode Preprint: Chapter 1 Book History in Australia since 1950 Katherine Bode Preprint: Chapter 1, Oxford History of the Novel in English: The Novel in Australia, Canada, New Zealand and the South Pacific since 1950. Edited by Coral Howells, Paul Sharrad and Gerry Turcotte. Oxford: Oxford University Press, 2017. Publication of Australian novels and discussion of this phenomenon have long been sites for the expression of wider tensions between national identity and overseas influence characteristic of postcolonial societies. Australian novel publishing since 1950 can be roughly divided into three periods, characterized by the specific, and changing, relationship between national and non-national influences. In the first, the 1950s and 1960s, British companies dominated the publication of Australian novels, and publishing decisions were predominantly made overseas. Yet a local industry also emerged, driven by often contradictory impulses of national sentiment, and demand for American-style pulp fiction. In the second period, the 1970s and 1980s, cultural nationalist policies and broad social changes supported the growth of a vibrant local publishing industry. At the same time, the significant economic and logistical challenges of local publishing led to closures and mergers, and—along with the increasing globalization of publishing—enabled the entry of large, multinational enterprises into the market. This latter trend, and the processes of globalization and deregulation, continued in the final period, since the 1990s. Nevertheless, these decades have also witnessed the ongoing development and consolidation of local publishing of Australian novels— including in new forms of e-publishing and self-publishing—as well as continued government and social support for this activity, and for Australian literature more broadly. A (Post)Colonial Market: 1950s and 1960s Australia was the largest export market for British books from at least the 1880s to the 1980s. This longstanding trade relationship was produced and maintained by a combination of cultural allegiances to Britain and international legislation. The privileged access of British publishers to the Australian market, provided by the 1886 Berne International Copyright Agreement, continued until, and was more strongly enforced by, the 1947 Traditional Market Agreement (TMA) between Britain and the United States. Under the TMA, as Brigid Magner explains: Australian-owned publishing companies were not permitted to acquire separate rights to British-originated books. A British publisher buying rights from an American publisher automatically obtained rights to the whole British Empire (except Canada); the US publisher was then obliged to cease supplying the book to Australia and could not sell Australian rights to any Australian publisher. (2006, 8) These legacies of colonialism gave British publishers significant influence over the Australian market, including the publication of Australian novels. While some renowned Australian novelists, including Patrick White and Christina Stead, were first published in America in the 1950s and 1960s, for most, publication meant gaining acceptance in Britain. Cassell, Collins, Heinemann, Hodder & Stoughton, Hutchinson, Macmillan, and Robert Hale were the most active British publishers of Australian novels in these decades. Many had branches in Australia, while Collins, the most prolific British publisher of Australian novels in this period, was also the first to establish an Australian office: in Sydney in 1872. Collins published novels by literary authors, such as Eleanor Dark and Geoffrey Dutton, as well as 1 bestselling popular fiction by Jon Cleary, Maysie Greig, and Catherine Gaskin, among others. The fact that the literary authors were published in Sydney, while the popular writers were published from London, suggests that Collins recognized a specifically local market for Australian literary fiction. Hutchinson was another British publisher with an office in Australia—in Melbourne—and the division of labour between the Australian branch and the British headquarters encapsulates the power dynamics of publishing at this time. While ‘especially interested in Australian writers’ work’, the Australian branch advised prospective authors that: ‘All final decisions regarding the acceptance of MSS. are made by our London office. We merely read all offerings, select those we consider suitable for our companies’ lists, and send them Home for consideration’ (Australian Writers 1946, 150). Ultimately, ‘selling British books well’, as Hilary McPhee writes, was the primary task of local branches, which received their orders from London, including being ‘told what was best for it and for the Australian market’ (2001, 104). The dominance of such policies led to shortages not only of Australian, but contemporary American, Canadian, South African, and New Zealand fiction in Australia. Access to fiction was also inhibited by a censorship regime described as ‘one of the worst … in the Western world’ (Moore 5), in force until the early 1970s. While most banned fiction was by overseas authors, some Australian novels were caught up in the regime, including Robert Close’s Love Me Sailor (1945), Christina Stead’s Letty Fox, Her Luck (1946), and Gerald Glaskin’s No End to the Way (1965). Despite all these restrictions, in the 1950s and 1960s a local publishing industry committed to Australian writing began to gain a foothold. The Second World War was an important catalyst in this process. At the level of supply and demand, the interruptions to imports meant that local publishers were able to secure licenses to print their own editions of British and Australian books. At a more profound, cultural level, the new sense of nationalism sparked by the War created a belief in the importance of Australian books, and of a local publishing industry to produce them. As Anne Galligan notes, some publishers had pursued ‘a personal mission to publish books by Australian authors dealing with Australian material’ prior to this conflict (2007, 36). The New South Wales Bookstall Company, ‘the first mass-market paperback venture in Australia’, published ‘over 350 titles in over a thousand reprints from the end of the 1880s to 1946’ (Mills 37). Most of these titles were fiction, and many were by Australian novelists, including Mabel Forrest, Beatrice Grimshaw, Norman Lindsay, Sumner Locke, Jack McLaren, and Vance Palmer. Although selling British books was its core business, established Sydney bookseller, Angus & Robertson (A&R), had an active publishing program, producing a steadily increasing number of titles through the first half of the twentieth century. In addition to reprinting bestselling overseas titles, and works by Henry Lawson and A. B. Paterson from its backlist, A&R published both popular and literary Australian novelists, including Frank Clune, Mary Gilmore, Ion Idriess, Walter Murdoch, Vance Palmer, and Arthur Upfield. During the war, publishers such as Currawong and Frank Johnson directly appealed to the nationalism of their readers, not only in their commitment to publishing local authors but in their advertising. Titles in the ‘Currawong First Novel’ series were described as ‘all “first novels” by young Australian authors’, and the back covers of Frank Johnson’s ‘Magpie Series’ advertised, ‘A Series of Selected Novels by Australian Authors: These stories, depicting various forms of Australian life in romance, humour, and thrilling adventure, are by far the finest and cheapest books yet issued in Australia’. This growth in local publishing, spurred by national sentiment, continued even after British publishers returned to the Australian market. In the 1950s and 1960s, A&R significantly increased its publication of original Australian novels, with titles by renowned 2 Australian authors including Thea Astley, Miles Franklin, Xavier Herbert, Thomas Keneally, Norman Lindsay, Vance Palmer, and Kylie Tennant. A&R also created a number of major series, including Sirius Books in the 1960s, A&R Classics in the 1970s, and Imprint Classics in the 1990s, aimed at bringing back into print classic Australian works. Other established booksellers—namely Dymocks in Sydney, Cheshire in Melbourne, and Rigby in Adelaide— also began publishing original Australian fiction, especially romances, thrillers, war stories, and young adult fiction. Cheshire published Joan Lindsay’s Picnic at Hanging Rock (1967), a work that became ‘part of the new wave of Australian writing and creativity which swept through in the late 1960s and early 1970s’ (Thompson 2006, 34) and, especially after the film of the book was made in 1975, an Australian classic. Alongside these established presses, a small number of independent local presses published Australian novels, often with an explicitly nationalist agenda. Georgian House, established in 1943, published eighteen original Australian novels from the late 1940s to the late 1960s, and advertised as specifically ‘interested in manuscripts by Australians and New Zealanders on … Fiction, Biography, History, Travel, Poetry, Juvenile, and those dealing with Australian flora and fauna and the aboriginals’ (Australian Writers 150). The Australasian Book Society was a cooperative publisher established in 1952, which used members’ subscriptions to finance the publication of twenty-nine first edition Australian novels, predominantly nationalist and leftist titles. Sun Books, established in 1965, published some original fiction as well as paperback editions of major Australian novels by Thea
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