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The Mainstream Cluture and the Alienated Writer in the Fifties

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The Mainstream Cluture and the Alienated Writer in the Fifties Lincoln University Digital Thesis Copyright Statement The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). This thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: you will use the copy only for the purposes of research or private study you will recognise the author's right to be identified as the author of the thesis and due acknowledgement will be made to the author where appropriate you will obtain the author's permission before publishing any material from the thesis. Put on the Margins? The Mainstream Culture and the Alienated Writer in the Fifties. *** A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Social Science at Lincoln University by Antje Bednarek *** '.-_ ',-._. :--:".'.C·· .. , .-'-~.--,- Lincoln University 2006 ~ : .. , ,:,.', . ii .';";' ~'-';~,,;,-; ;-~... :·~:":~::k-.;...;;i:~ Abstract of a thesis submitted in partial fulfilment of the • ~ £ • " .~.-.-•• ; requirements for the Degree of M.Soc.Sc. Put on the Margins? The Mainstream Culture and the Alienated Writer in the Fifties. :.:, ~' .. ~ .. by Antje Bednarek The Fifties were the dawning of the age of the New Zealand homeowner, of prosperous families, suburbia and consumerism. Conformity and conservatism determined all aspects of social life. It is commonly believed that the dominant cultural mainstream, in an attempt to uphold patterns of conformity, has marginalised those who resisted the social norm. Writers, artists and intellectuals, according to this version of events, have been forcefully put on the margins of society. A general lack of scholarship about the Fifties does not allow one to establish how true an account of cultural relations this really is. Through perusal of two prominent periodicals this study aims to offer a more detailed picture of the relation between the writer and the cultural mainstream. Most importantly it establishes that not all writers experienced a conflict with the surrounding mainstream culture, only a handful in fact did. Those writers chose to be on the margins, and from there they rejected the mainstream culture for various reasons. Conservatism, attitudes regarding the family and conformity were main factors iT). creating hostility towards the mainstream. Later historians, most notably Keith Sinclair, have subsequently delivered an account of the '- "._,-", . ~. ... .,' .' , ;-;. .'-~- .. -. -. '. - Fifties that placed exaggerated emphasis on the opinions of those few writers. Keywords: Fifties, writers, mainstream culture, NZ Listener, Landfall, conservatism, conformity, materialism, family, gender relations, historiography iii .:.', .. ::.~:. -a: .:~:. -.,; ..... -"~.:,:.; ... t:::~:':::':::::::~;::: Contents -, ...... :-.,->. Abstract - ii - Contents - iii - Introduction -1 - The Fifties - A Brief History - 3 - The Established Perspective: Pearson and Chapman -7 - Objectives of This Socio-Cultural Exploration - 14- The Sources For This Study -15 - 1. The Listener - 16- 2. Landfall -17 - 3. Other Primary Sources - 19 - I. New Zealand's Culture in the Nineteen-Fifties: The Cultural Mainstream - 23 - 1. People's Voices in Politics - 24- 1.1. The First National Government, 1949-1957 - 24- 1.1.1. First Term, 1949-1951 - 24- 1.1.2. Second and'Third Term, 1951-1957 - 37 - 1.2. The Second Labour Government, 1957-1960 - 44- 2. New Zealanders About New Zealanders - 49- 2.1. Materialism - 49- 2.2. Conformity - 54- 2.3. Maturity or: The State of New Zealand Culture - 58 - 3. "Golden Weather" and Families in New Zealand - 65 - 3.1. The Cult of Domesticity - 65- 3.2. Gender Relations - 69 - 3.3. Men and Children -78 - 3.4. General Reflections of the Family in Landfall and the Listener- 86 - 4. Conclusion - 90 - II. New Zealand's Culture in the Nineteen-Fifties: Writers and Writing - 93 - ",',-,'" 1. Literature and Society - 93 - i'···',-······,-,· 1.1. The Role of Writers in Society - 94- - 102- -_ .... , 1.2. Three New Zealand Short Stories ....... -" .. 1.2.1. Frank Sargeson: The Making of a New .:--- .. :.:-,- Zealander (1939) - 103 - 1.2.2. A.P. Gaskell: All Part of the Game (1950) -105 - 1.2.3. Maurice Shadbolt: Annual Holiday (1955) - 108- 2. New Zealand Writers - 113 - 2.1. Writers in Communion - 113 - 2.2. Writers' Lives - 119- iv ;;~,-.~~ -:-:~.~.~:. ~J.-';,.: ~.~".-~".~_', ~~,:-:;:;~\~:;;~ ~.:~ ,~.\, -- -; - III. Conclusion: The Alienated Writer and the Cultural Mainstream -125 - 1. Alienating Factors - 127 - 1.1. Conservatism - 127 - 1.2. Conformity - 130- 1.3. Family - 132- 2. Through the Looking Glass - 137- 2.1. The Listener's Role in New Zealand's Culture -137 - 2.2. Landfall's Role in New Zealand's Culture - 140- 2.3. Writing History or Writing Stories? - 144- 3. Closing Comments. - 147 - Bibliography -151 - Acknowledgements -157 - :~-:-,,::~...;'---.:.. - 1 - Introduction As far as history is concerned, the Fifties are an unlucky decade, sandwiched as they are between two world wars and a depression on the one hand and the civil rights movements of the Sixties on the other. The common view of the decade is that it lacked significant events; 'dullness', 'conformity' and 'complacency', terms often used to describe the decade, might come to mind. The Fifties are also thought of as the 'golden weather' decade, a mythical bucolic age of happiness and laughter. New Zealand's economic growth in post-war years accounts for this image in part; furthermore, families were re-united and formed. During those baby boom years, toddlers . '.'.~ :- -;,-, produced smiles on everyone's faces everywhere. For some, however, this reiterates the 'dullness motif. Ever- increasing and unprecedented prosperity and the resulting contentment, the . ",- ". birth of uniform suburban housing and the advent of a broad range of consumer goods perhaps fail to provide the ultimate meaning of human existence. A similar clash of opinions existed on the global level. There, affluence in the west existed opposite the "socialisation of the means of production, distribution, and exchange" (The Press, Nov. 2, 1949, p. 5). The resulting ideological struggle between east (Soviet Union) and west (USA) is of course the Cold War. All things considered, "the Fifties have a bad press" (McEldowney, 1997, p. 11). Perhaps this partly accounts for a noticeable lack of historical research into the Fifties, in New Zealand at least. The decade is covered in general histories of New Zealand, of course. But there are only a few sources for anyone with a specific interest in this decade, in its people and its day-to-day life. On such a limited research basis a broad understanding of life in New Zealand during the Fifties cannot be attained. Not understanding the Fifties produces distorted or even incorrect contextua1isations of later events in New Zealand's history. Among the few sources that shed light on the Fifties, one in particular has become common knowledge amongst this country's -2- ; ~< ~'- ... ,.-.~-'. intellectuals. I am referring to Bill Pearson's 1952 essay 'Fretful Sleepers' in which he elaborates at length on the common New Zealander's fear of difference, his resulting love of conformity, his resistance to self-reflective thought and also to emotions. Pearson, in short, talks about the "torpor" and "meaninglessness" that he thought hung over these islands. 'Fretful Sleepers" main argument concerns the New Zealand artist. He does not conform, is the deviant in a society that according to Pearson abhors nothing more than deviance from a fixed norm. Consequently the artist is ostracised, put on the margins of society, made an outsider. In this scenario two cultures appear to be pitted against each other: the artist's culture and the conformist mainstream. The conformist mainstream has not attracted much scholarly interest to this day. The intellectual's culture, in contrast, has, especially in Landfall and other literary/ cultural magazines. As a result, I hold, our perception of the Fifties in this country - and consequently of the following decades as well - is greatly distorted. This introductory section locates the study in regards to the historical events between 1949 and 1960, the stereotypical image especially intellectuals have of the Fifties, the objectives of this study and the main sources I used. My research seeks to enhance and perhaps correct some of the ideas held among academics of all fields about the Nineteen-Fifties and to provide a brief cultural history of the decade as it unfolds between artists, writers and intellectuals on one side and the dominant mainstream on the other. The reasons that the decade enjoys such a 'bad press' will be unfolded, extreme views like Bill Pearson's put in context, and the day-to-day lives of common New Zealanders revisited. - 3 - The Fifties - A Brief History The Nineteen-Fifties must be seen in the context of two world wars and a severe economic depression. Having survived these, in the late Forties a sense of psychological relief and hope for a better future pervaded the country. The Labour Government (1935-49) under Peter Fraser shared and promoted this optimism. It did its utmost to show gratitude to returning servicemen and their families, to provide housing for everyone and to stabilise the economy. But it retained some of the regulations that had been considered necessary during the war, censorship and rationing being two prominent examples. Labour voters m the early post-war years hoped that "socialism would be within [their] grasp within ten years"
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