Engineering Your Own Soul: Theory and Practice in Communist Biography and Autobiography & Communism

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Engineering Your Own Soul: Theory and Practice in Communist Biography and Autobiography & Communism CORE Metadata, citation and similar papers at core.ac.uk Provided by RMIT Research Repository Engineering your own soul: theory and practice in communist biography and autobiography & Communism: a love story An exegesis and creative project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Jeffrey William Sparrow BA Lit (Hons) School of Creative Media Portfolio of Design and Social Context RMIT University January 2007 1 Declaration I certify that: • except where due acknowledgement is made, the work is mine alone; • the work has not been submitted previously, in whole or in part, to qualify for any other academic award; • the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; • any editorial work, paid or unpaid, carried out by a third party is acknowledged. Signed ___________________________ Jeff Sparrow, January 2007 2 Abstract The creative project Communism: a love story is a piece of literary non- fiction: a biography of the communist intellectual Guido Carlo Luigi Baracchi (1887-1975). It investigates Baracchi’s privileged childhood as the son of the government astronomer and a wealthy heiress, his career as a university activist, his immersion in Melbourne’s radical and artistic milieu during the First World War, his role in the formation of the Communist Party of Australia, his changing attitudes to communism during the 1920s and 1930s while in Australia and overseas and his eventual identification with the Trotskyist movement. The project explores the different strands of thought within Australian communism, the impact of Stalinisation on the movement both in Australia and overseas, and the personal and political difficulties confronting facing anti-Stalinist radicals. It examines the tensions between Baracchi’s political commitments and his upbringing, and situates Baracchi’s tumultuous romantic relationships (with Katharine Susannah Prichard, Lesbia Harford, Betty Roland and others) in the context of his times and political beliefs. The exegesis Engineering your own soul: theory and practice in communist biography and autobiography examines the political and artistic tensions within the biographical and autobiographical writings of Betty Roland and Katharine Susannah Prichard in the context of the development of the world communist movement. 3 Volume One – Exegesis Engineering your own soul: theory and practice in communist biography and autobiography 4 Research question: How were biography and autobiography theorised and practised within the Australian communist tradition? Subsidiary questions: 1) How were biography and autobiography theorised and practised by Katharine Susannah Prichard? 2) How were biography and autobiography theorised and practised by Betty Roland? 5 Contents Engineering your own soul: theory and practice in communist biography and autobiography Acknowledgements 4 Introduction 5 The genre of Stalinist travel narratives 8 Katharine Susannah Prichard’s The Real Russia as a Stalinist travel narrative 18 Zhdanov and the theorisation of Stalinist literary production 28 Zhdanovism and Australian literature 38 The contradictions of Stalinist literary production in Australia: the case of Frank Hardy 43 Katharine Susannah Prichard and the Great Family of Stalinism 52 Katharine Susannah Prichard’s divided autobiography 58 Betty Roland and Stalinism 69 Conclusion 88 Bibliography 93 6 Acknowledgements The following people provided editorial assistance with the exegesis: Dr Fiona Capp, Antoni Jach, Dr Nathan Hollier, Kalinda Ashton, Gill Davy and David Hudson. 7 Introduction The challenge posed by the communist literary tradition to conventional modes of reading and writing is generally acknowledged. Communism generated particular textual forms, models of authorship, structures of literary production and distribution: a distinctive culture of reading and writing parallel with, and sometimes in opposition to, the literary mainstream. 1 Yet, even as a considerable body of research has accrued on the literature, poetry and drama of the Australian communist movement, its biographies and autobiographies have (with some exceptions) 2 been treated more seriously as historical sources than as literary texts. In part, this emphasis reflects a more general undertheorisation of biography and autobiography as literary forms. Historically, as Ian Donaldson points out, the contemporary rise of biography (both in terms of technical sophistication and commercial success) corresponded with the critical acceptance of the ‘death of the author’ so that: theory and practice [were] starkly at odds … : theorists have not diminished the powerful attraction of biography as a genre, while biographers have tended to carry on with the job as though there were no theoretical case to answer, no need to examine the status and function of their work and its complex potential relationship to the concerns of criticism and interpretation. 3 The neglect of Australian communist biography and autobiography also relates to a specific problem for communists: an underlying unease about the validity of life-writing. The proliferation of hagiographies of party leaders and other important communist figures (generally intended for a mass readership in the Soviet bloc) did 1 For communist literary production in Australia, see Docker, J. ‘Culture, Society and the Communist Party’ in Curthoys, A. and Merritt, J. (eds) Australia’s First Cold War, 1945-1953 , Allen & Unwin, Sydney, 1984 and Syson, I. ‘Approaches to Working Class Literature’, Overland , no. 133, 1993, p. 62. 2 The exceptions include Damousi, J. Women Come Rally: Socialism, Communism and Gender in Australia 1890-1955 , Oxford University Press, Melbourne, 1994, pp. 200-10; Carter, D. ‘History Was on Our Side: Memoirs from the Australian Left’, Meanjin , vol. 46, no. 1, 1987, p. 108; Beilharz, P. ‘Elegies of Australian Communism’, Australian Historical Studies , vol. 23, no. 92, 1989, p. 296. 3 Donaldson, I. ‘Introduction’ in Donaldson, I., Read, P. and Walter, J. (eds) Shaping Lives: Reflections on Biography , Humanities Research Centre, Australian National University, Canberra, 1992, p. iii. 8 not altogether negate an underlying theoretical suspicion by communist intellectuals of biography as inherently individualist, unmaterialist and non-Marxist. 4 The Australian communist movement’s reluctance to explicitly theorise biography and autobiography (compared to, for example, the seriousness with which it treated the novel) has obscured the extent to which communism did, in practice, develop the genres in distinctive and interesting fashions. It might even be argued that a certain kind of autobiographical narrative helped establish the communist movement in Australia, as elsewhere, since in the aftermath of the Russian revolution, the foundation of a local communist organisation was spurred not only by the writings and exhortations of the Bolshevik leaders but also by the accounts of non-Russian witnesses to the revolution and, later, by travellers intent on seeing the Soviet Union for themselves. The narratives about travel to Soviet Russia were inevitably also texts about the people who did the travelling: thus, from its earliest days, communism was explained, propagated and justified in Australia through memoir and autobiography. 5 The form and the autobiographical content of these travel narratives changed as the Soviet Union developed. In particular, its turn to economic and cultural autarky after 1928 – expressed theoretically by the Stalinist slogan of ‘socialism in one country’ – generated what might be dubbed ‘Stalinist travel narratives’, texts that blend a narrowly circumscribed form of autobiography with the distinctive tradition of literary utopianism. During the same period, the Stalinist regime’s much more systematic assertion of control over literary production found expression in the Zhdanovite theory of socialist realism. 6 Zhdanovism remained a crucial referent for communist novelists, poets and dramatists until the end of the Soviet period. Though rarely explicitly applied to biography and autobiography, it nonetheless shaped the texts of communist writers working in these genres. The works of Katharine Susannah Prichard and Betty Roland provide a useful focus for an examination of the theory and practice of Australian communist 4 On Soviet biography, see Clark, K. The Soviet Novel: History as Ritual , University of Chicago Press, Chicago, 1981, p. 122-3; on theoretical attitudes to biography, see Robinson, G. ‘Biography and the Project of Labour History: Marxist Anticipations and Australian Examples’, Eras , no. 5, 2003. 5 See, for instance, Ross, E. The Russian Revolution: Its Impact on Australia , Socialist Party of Australia, Sydney, 1972, especially p. 20. 6 The terminology of Stalinist literary production is notoriously imprecise. ‘Zhdanovism’ is used here to refer to the broad attitudes to literature associated after 1934 with the name of central committee secretary Andrei Zhdanov, while ‘socialist realism’ is employed more specifically, usually in circumstances where writers and critics use the term themselves. 9 biography and autobiography. Both produced several books within these genres; together, their careers extended from the beginning of the communist period through to its very end. Prichard celebrated the Russian revolution in 1917 and joined the Communist Party of Australia at its inception in 1920; Roland published the second edition
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