The Secret of Hanging Rock

Total Page:16

File Type:pdf, Size:1020Kb

The Secret of Hanging Rock Joan Lindsay'sfinal chapter with an introduclionby Johi Taylor and a commentaryby yrlonn" Rousseau (Q"w,u Introduction 1 The Invisible Foundation Stone Taylor 7 All chsrarters in this book are John entirely .ficlitious, and no rekrence is intended Io ony living person. The CharactersMentioned 1e ANGUS & ROBERTSON PUBLISTTERS Chapter Eighteen Unit 4, L:den Pork, 3l llaterloo Road, North Ryde, NSW, Austrolio 2113, and Lindsay 21 16 Golden Square, London WIR 4BN, Joan United Kingdom This book is t:opyright. A Cornrnentary on Chapter Ei6lhteen Apart front any fair dealing for the purposes oJ privale study, reseorch, Yuonne Rousseau 35 crilitism or feview, as permitted under the Copyrighl Act, na part mal be reproduced by any proce.ss without v'rit len permrssion. Inquiries should be addressed lo the publishers. firsl published in Australia by Angus & Robertson Publishers in 1987 First published in the United Kingdom by .Angus & Robertson UK in 1987 Cop.yright e, John Tatlor and Yvonne Rousseau 1q87, (;hapter l8 of "Picnic at Hanging Rock" by Joan Lindsay :; lohn 'l'a,rittr l9tl/, Conmenlary G) l'vonne Roussesu 1987, "The Invisible F'oundalion Slone" O John Tuylor 1987. Notiondl l-ibror;y of Australia Ca I al o guing-in -publ ica t ion d a I a. Lindsay, Joan, I 896-1984. The seret oJ Ilanging Rock. ISBN 0 207 t5550 X. {. Rttusseau, Yvonne. I[. Lindsoy, loan,1896.1984. P,cni{' ul Hanging Rock. IIL Title. IY. Titk': Pimk ot Hanging Rock. A82-t,.J T.ypeset in I4il6 Bem Exponried by Midland f'ype.wfters Prirtted in ,lustruliu HRN,.;tNc; INlRonucrtot Joan Lindsay'sPicnic at Hanging Rockhas been are so convinced of the reality of the time, read by several million people in English, place and people that we can accept the French, Spanish and Italian, and the film mystery for what it is. Joan Lindsay wrote version seenby tens of millions. with a sharpnessof observation, a shrewdness As a novel its appealcame chiefly from of insight and a humour which carry us to two things: the way it combined mysterious the puzzling conclusion. W'e do not feel and sinister events with a picture of a period cheated, becausesuch a writer doesn't cheat. drawn with loving nostalgia, and the fact that There have been attempts to "explain" the mystery was left unsolved. the unsolved mystery by suggesting that it The central story can be briefly was derived from, or inspired by, the Marabar summarised. A party of schoolgirls goes on Caves incident in E. M. Forster's A Passage a picnic on St Valentine's Day, 1900. Four to India, or an apparently bogus incident of them leave the group to explore the described in a book called The Ghosts of Hanging Rock. One of the schoolmistresses Versailles. There is no evidence that Joan also wanders off. W'hen they do not return Lindsay ever read either book. Her own in time, a searchis organised. The youngest account was that the story "just came to her" girl emerges from the hillside in hysterics, but in stages as she lay awake at night, to be can recall almost nothing. Of the other three written at high speed the next day. girls and the mistressthere is no trace. A week But what came to her did include the later, one of the girls is found on the rock ending, and although we were not cheated, with a few cuts and bruises on her hands and we were misled. face, but her bare feet unmarked and no Joan Lindsay kept silent on the subject memory of where she has been. of the final chapter for the sake of her Such an unlikely plot could never publishers and the film-makers. Flowever, she work except in the hands of a writer of expressed a clear wish that it should be remarkable talent. It is perhaps becausewe published after her death. In the light of this, TnE Sncnet or HnNcrNc Rocx INrRonucrront it seemsabsurd that many people have argued searching through old newspapers and that it should not be published, as though records, hoping to find the "facts". Yvonne they had a better knowledge than the author, Rousseau, in her remarkable scholarly spoof or a right to overrule her. The Murders at Hanging Rock, showed that an Flowever, many thousands of others astonishing number of "solutions" could be have begged to know the secret, and they made to seem plausible by combining fact have it now with the author's consent. with fiction. She put her finger on the 'When, to please her publisher, Joan fundamental fact that the supposeddate of the Lindsay agreed to remove the final chapter, picnic was not a Saturday, as the author said, it was not the only change she made. but a 'Wednesday. At the beginning of the novel there Picnic at Hanging Rock is remarkable is a note by the author: for the fact that it is the only one of Joan Lindsay's works to contain any dates at all. 'Whether Picnic at Hanging Rock is Fact One should not be surprised to find them or Fiction, my readersmust decide for ambiguous. themselves. As the fateful picnic took place in the year nineteen hundred, and all the characters who appear in this book are long since dead, it hardly seemsimportant. But after writing it, shealtered it to read "Fact or Fiction or both". The words were never included, but one can ponder them. Many people have spent many hours =''t-"NS +'L" Vt r@^rqilt, ( r-: . ..i W(X* :-,4 \- /i \r rr-}'\ JOHN TAYL()R il i \ THe SpcRrr op HaNcrNc Rocx TrtE lxvrsrnrn FoUNoATIoN SroNr Chapter Eighteen of Picnic at Humging Rock But God had decreedthat you can show just has been the subject of a great deal of so many people climbing a given Rock in one nonsense. picture, and the editor's decision was final. Joan Lindsay wrote it as part of her W'hat we saw was a subtitle. 'Whether novel, intending it to be published. Joan gave me the manuscript of it would have "spoiled" the story to include Chapter Eighteen in December t972, to my it is a question for each reader to decide. The considerable surprise. publishers' readers thought it should be As Promotions Manager for her deleted. It was a purely literary decision, but publisher (Cheshire, Melbourne), I had the historians might well decide that its indirect unwelcome task of dealing with the various result was the creation of the Australian film people who were seeking to buy the film industry as we know it-because it is highly rights. It was not part of my job, and I knew unlikely that there would have been a rush little about it. Eventually, I observedthat Pat to buy the film rights in L972 if Chapter Lovell and Peter W'eir were the best Eighteen had not been deleted. contenders, and I took them to meet Lady As anyone can see,the chapter is quite Lindsay at her house, Mulberry Hill. unfilmable. Film can work only with what As usual with Joan, she made up her God gives it, and God did not give it the same mind instantly that they were the right elasticity He granted the novel- though people, and we might as well have left after people keep trying, as the cutting-room floor five minutes. However, we spent a pleasant forever shows. afternoon chatting and looking at her pictures I understand that one of the greatest and being charmed by her-an effect she sequencesever filmed was Mrs Appleyard produced without the slightest effort or rushing up the Hanging Rock between a artifice. raging bushfire and an approaching Being a professionalpublishing person, thunderstorm, on her way to commit suicide. I naturally hadn't actually read the book. Tnp SscREr oE HnNctttc Rocx Tnr IxvrsrnrnFouNnATroN Srorup People in publishing rarely have time to read "Oh, she didn't work it out," said anything -a f.act that accounts for much of Joan. "Shejust nagged and nagged and I had the tension which arisesbetween them and to tell her." 'Well, they were old friends. authors. Publishers refer to books as "titles" and collectively as "lists". Lists of titles are 'What had I worked out? Nothing much what publishing is about. Actual pages of more than that some words in Chapter Three print are too time-consuming. didn't seem to fit - that the references to I was therefore puzzled by some of the "drifts of rosy smoke" and "the beating of far- conversation, which was about some kind of off drums" seemedto anticipate later events unsolved mystery. I nodded wisely, and told and that the author appeared to be playing myself I had better get hold of a copy and tricks with time. read it over the weekend, which I did. As is now clear, some sections of The next time I saw I mentioned Joan, Chapter Eighteen were transferred (not very that I had noticed a few things that didn't expertly) to Chapter Three. add up, and had drawn some conclusions. The manuscript used by the editor and "Ah," she said. "You're one of very few typesetter has not survived, so one cannot people who've noticed that." I felt pleasedthat examine the method by which this was done. I had joined a srnall club. With hindsight, it looks like a scissors-and- A few months laterJoan took me aside paste job rather than a rewriting of the her some of her after lunch at club with chapter.
Recommended publications
  • Contrasting Cultural Landscapes and Spaces in Peter Weir's Film Picnic At
    Coolabah, No.11, 2013, ISSN 1988-5946, Observatori: Centre d’Estudis Australians, Australian Studies Centre, Universitat de Barcelona Contrasting cultural landscapes and spaces in Peter Weir’s film Picnic at Hanging Rock (1975), based on Joan Lindsay’s 1967 novel with the same title 1 Jytte Holmqvist Copyright©2013 Jytte Holmqvist. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged. Abstract: The following essay explores the relationship between contrasting cultures and cultural spaces within a rural Australian, Victorian, context, with reference to the narrated cultural landscape in Joan Lindsay’s novel Picnic at Hanging Rock (1967) and in the film based on the novel, by Peter Weir (1975). In the analysis of the five first scenes of the film, the focus will be on the notion of scenic- and human- beauty that is at once arresting and foreboding, and the various contrasting and parallel spaces that characterise the structure of book and film. The article will draw from a number of additional secondary sources, including various cultural readings which offer alternative methodological approaches to the works analysed, and recorded 1970s interviews with the author and the filmmaker. *** This essay explores the relationship between contrasting cultural spaces within a rural Australian context, with reference to Joan Lindsay’s 1967 novel Picnic at Hanging Rock and in Peter Weir’s film based on the novel (1975). The original novel may or may not be based on the real disappearance of three young girls in the Macedon area in 1867.
    [Show full text]
  • Every Moment an Amazing Story MESSAGE from the CHAIRMAN, DR GRAEME L BLACKMAN OAM
    VICTORIA ISSUE 1 FEB/MAR/APR 2015 National Trust of Australia (Victoria) AUS:$7.00 9 772204 397002 > Every moment an amazing story MESSAGE FROM THE CHAIRMAN, DR GRAEME L BLACKMAN OAM Welcome to our fi rst issue of National Trust, heralding a new look for our fl agship membership publication which has grown to refl ect our vision for the Trust as a leader and innovator in the custodianship and interpretation of heritage places. As well as featuring stories from the Trust showcasing our fascinating properties, collections and programs, National Trust includes new contributors bringing you stories from the rich world of history and heritage in Victoria and beyond. In 2015 Australia begins a four-year commemoration of the Centenary of Anzac, during which the National Trust will off er a number of public programs and tell some of the incredible wartime stories from our properties. Our National Trust Heritage Festival, themed Confl ict and Compassion (see pages 6–9), will highlight some of these stories, with an exhibition at Como exploring the impact of World War I on the Armytage family (see page 11). One of my personal highlights of 2014 was participating in the fi rst commemorative planting for the Gallipoli Oaks project at the Royal Botanic Gardens by the Governor General Sir Peter Cosgrove in November (see p 21). From now until 2018, the Trust will be delivering Gallipoli Oak saplings with an accompanying education kit to over 500 schools across Victoria to provide a new generation with a living link to Gallipoli. I hope that you are able to join us at a National Trust Heritage Festival event this year.
    [Show full text]
  • John ASHBERY, Poet (1927–2017)
    XXXXX SIZE: 170x170 Cuneiform tablet c. 2050 BCE Southern Mesopotamia (modern-day Iraq) RARES 099 C89 Cuneiform writing, developed by the ancient culture of Sumer, was one of the world’s first scripts. It was written on clay tablets using a wedged stick (cunea is Latin for ‘wedge’); the tablets were then sun-dried or fired. The earliest tablets (c. 3400 BCE) record economic transactions. This tablet records taxes paid in sheep and goats in the tenth month of the 46th year of Shulgi, second king of the Third Dynasty of Ur. BOOKS AND IDEAS ‘[T]he book is an extension of the eye …’ Marshall McLuha n The history of ideas is mirrored in the history of the book. Books have altered the course of history itself, through the dissemination of ideas that have changed how we think about the world and ourselves. In many cultures across different eras, books have played a highly symbolic and iconic role. There was a time when it was thought that the world’s knowledge could be collected between the covers of a book. The information explosion of recent times now makes it impossible to contain the world’s knowledge within one library, let alone in one book, yet books continue to be a powerful means of informing and inspiring new generations. XXXXX SIZE: 170x170 Leaf from an antiphonal showing the Office for Pope Gregory the Great England (?), c. 1400 Gift of Meredith Sherlock RAREP 782.324 C2862O CASE: XX SIZE: 150x 150 Claudius PTOLEMY (c. 100–170 CE) Ptolomaeus Almagestus (Ptolemy’s Greatest Work) Translated from Arabic into Latin by Gerardus Cremonensis Northern Italy, 1200–25 RARES 091 P95A Greek-born scholar Claudius Ptolemy lived in Roman-ruled Egypt, contributing significantly in the fields of philosophy, astronomy, mathematics and geography.
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]
  • Space, Memory, and Power in Australia: the Case for No Nation
    Space, Memory, and Power in Australia: The case for No Nation. Elspeth Tilley Bond University & The University of Queensland Narratives of nation-building, as attempts to their few acres, throw down tenacious roots, and impose "the impossible unity of the nation as a weave a natural poetry into their lives by symbolic force" (Bhabha), contain the seeds of invoking the little gods of creek and mountain. their own destruction. Certain fetishised themes The land has been something to exploit, to tear in Australian non-indigenous literature, for out a living from and then sell at a profit. Our example the vanishing explorer, can be read as settlements have always had a fugitive look, working against any idea of a coherent national with their tin roofs and rubbish-heaps. … Very identity. Vanishing characters undo the colonial little to show the presence of a people with a narrative project's attempts to a) inscribe the common purpose or a rich sense of life." (1942, imaginary landscape with markers of imperial reprinted in Lee, Mead & Murnane, 1990, pp. 7- presence and b) thereby cement both ownership 8). of property and the identity of the coloniser. Two decades later, on the other side of the That the vanishing narrative trope persists in world, Frantz Fanon penned a sentence that contemporary literature indicates not only that serves as a useful reply: the discursive annexation of Australian space continues, but that questions about ownership of If you really wish your country land are not confined to landrights battles in the to avoid regression, or at best courts.
    [Show full text]
  • SF Commentary 106
    SF Commentary 106 May 2021 80 pages A Tribute to Yvonne Rousseau (1945–2021) Bruce Gillespie with help from Vida Weiss, Elaine Cochrane, and Dave Langford plus Yvonne’s own bibliography and the story of how she met everybody Perry Middlemiss The Hugo Awards of 1961 Andrew Darlington Early John Brunner Jennifer Bryce’s Ten best novels of 2020 Tony Thomas and Jennifer Bryce The Booker Awards of 2020 Plus letters and comments from 40 friends Elaine Cochrane: ‘Yvonne Rousseau, 1987’. SSFF CCOOMMMMEENNTTAARRYY 110066 May 2021 80 pages SF COMMENTARY No. 106, May 2021, is edited and published by Bruce Gillespie, 5 Howard Street, Greensborough, VIC 3088, Australia. Email: [email protected]. Phone: 61-3-9435 7786. .PDF FILE FROM EFANZINES.COM. For both print (portrait) and landscape (widescreen) editions, go to https://efanzines.com/SFC/index.html FRONT COVER: Elaine Cochrane: Photo of Yvonne Rousseau, at one of those picnics that Roger Weddall arranged in the Botanical Gardens, held in 1987 or thereabouts. BACK COVER: Jeanette Gillespie: ‘Back Window Bright Day’. PHOTOGRAPHS: Jenny Blackford (p. 3); Sally Yeoland (p. 4); John Foyster (p. 8); Helena Binns (pp. 8, 10); Jane Tisell (p. 9); Andrew Porter (p. 25); P. Clement via Wikipedia (p. 46); Leck Keller-Krawczyk (p. 51); Joy Window (p. 76); Daniel Farmer, ABC News (p. 79). ILLUSTRATION: Denny Marshall (p. 67). 3 I MUST BE TALKING TO MY FRIENDS, PART 1 34 TONY THOMAS TO MY FRIENDS, PART 1 THE BOOKER PRIZE 2020 READING EXPERIENCE 3, 7 41 JENNIFER BRYCE A TRIBUTE TO YVONNNE THE 2020 BOOKER PRIZE
    [Show full text]
  • July to December 2019
    THE TEXT PUBLISHING COMPANY JULY–DECEMBER 2019 Level 10, 22 William Street Publicity [email protected] Cover design Imogen Stubbs, Melbourne VIC 3000 Australia Sales [email protected] from A Constant Hum by Alice Bishop p: +613 8610 4500 f: +613 9629 8621 Rights [email protected] Design/production Text textpublishing.com.au [email protected] Export [email protected] Editorial/co-ordination Stefanie Italia JULY SEPTEMBER NOVEMBER 3 Shepherd Catherine Jinks 19 On a Wing and a Prayer 37 Nothing New Robyn Annear 4 The Convert Stefan Hertmans Di Websdale-Morrissey 38 Yellow Notebook Helen Garner 5 A Constant Hum Alice Bishop 20 The Golden Country Tim Watts 40 Stories, Monkey Grip & The Children’s Bach 6 The Bookshop of the Broken Hearted 21 Lucky Ticket Joey Bui Helen Garner Robert Hillman 22 Sand Talk Tyson Yunkaporta 41 Life Tim Flannery 7 The Golden State Lydia Kiesling 24 The Book of Dirt Bram Presser 42 Griffith Review 66 Edited by Ashley Hay 32 Disgrace, Waiting for the Barbarians, 25 You Daughters of Freedom 43 The River Capture Mary Costello Life & Times of Michael K & The Master Clare Wright 44 Peace Garry Disher of Petersburg J. M. Coetzee 26 The Girl without Skin Mads Peder Nordbo DECEMBER AUGUST 46 Picnic at Hanging Rock Joan Lindsay 8 On the Chin Alex McClintock OCTOBER 47 On the Beach Nevil Shute 10 Preservation Jock Serong 27 Cold Fear Mads Peder Nordbo 48 Don Tillman’s Standardised Meal System 11 James Hardy Vaux’s 1819 Dictionary 28 Kill Shot Garry Disher Graeme Simsion of Criminal Slang… Simon Barnard 29 Ian Fairweather Edited by Claire Roberts 12 The Mosquito Timothy C.
    [Show full text]
  • 51ST ANNUAL CONVENTION March 5–8, 2020 Boston, MA
    Northeast Modern Language Association 51ST ANNUAL CONVENTION March 5–8, 2020 Boston, MA Local Host: Boston University Administrative Sponsor: University at Buffalo SUNY 1 BOARD OF DIRECTORS President Carole Salmon | University of Massachusetts Lowell First Vice President Brandi So | Department of Online Learning, Touro College and University System Second Vice President Bernadette Wegenstein | Johns Hopkins University Past President Simona Wright | The College of New Jersey American and Anglophone Studies Director Benjamin Railton | Fitchburg State University British and Anglophone Studies Director Elaine Savory | The New School Comparative Literature Director Katherine Sugg | Central Connecticut State University Creative Writing, Publishing, and Editing Director Abby Bardi | Prince George’s Community College Cultural Studies and Media Studies Director Maria Matz | University of Massachusetts Lowell French and Francophone Studies Director Olivier Le Blond | University of North Georgia German Studies Director Alexander Pichugin | Rutgers, State University of New Jersey Italian Studies Director Emanuela Pecchioli | University at Buffalo, SUNY Pedagogy and Professionalism Director Maria Plochocki | City University of New York Spanish and Portuguese Studies Director Victoria L. Ketz | La Salle University CAITY Caucus President and Representative Francisco Delgado | Borough of Manhattan Community College, CUNY Diversity Caucus Representative Susmita Roye | Delaware State University Graduate Student Caucus Representative Christian Ylagan | University
    [Show full text]
  • COLLOQUY Text Theory Critique
    COLLOQUY text theory critique issue 20, december 2010 Editorial Committee: Editorial Board: Nathaniel Avery Bill Ashcroft Geoff Berry Andrew Benjamin David Blencowe Andriana Cavarero Conall Cash Joy Damousi Timothy Chandler Alex Düttmann Sam Cuff Jürgen Fohrmann Gene Flenady Sneja Gunew Rachel Funari Kevin Hart Ohad Kozminsky Susan K. Martin Eleonora Morelli Steven Muecke Isabella Ofner Paul Patton Stephen Palmer Georg Stanitzek Catherine Ryan Terry Threadgold Sophie Suelzle Advisory Board: Axel Fliethmann Brett Hutchins Alison Ross COLLOQUY text theory critique 20 (2010). © Monash University. www.colloquy.monash.edu.au/issue20.pdf ISSN: 13259490 Issue 20, December 2010 Editorial 2 ARTICLES Not a Bush Flâneur? The Convergent Topographies of Recreational Bushwalking, Floristic Appreciation and Human Embodiment in the Southwest of Western Australia John Ryan 5 Fear and Loathing in the Australian Bush: Gothic Landscapes in Bush Studies and Picnic at Hanging Rock Kathleen Steele 33 Yves Klein and Hysterical Marks of Authority Oliver Watts 57 Monstrous Fairytales: Towards an Écriture Queer Dallas J Baker 79 The Times They Are A-Changin’: The Passage of Time as an Agent of Change in Zack Snyder’s Film Adaptation of Watchmen Daniel Wood 104 The Hearing Trumpet: Leonora Carrington’s Feminist Magical Realism Gabriel García Ochoa 121 POETRY Blood John Ryan 145 BOOK REVIEWS Simon During. Exit Capitalism: Literary Culture, Theory, and Post-Secular Modernity. London: Routledge, 2010. Mark Fisher. Capitalist Realism: Is There No Alternative? Ropley, UK: Zer0 Books, 2010. Conall Cash 148 COLLOQUY text theory critique 20 (2010). © Monash University. www.colloquy.monash.edu.au/issue20/contents.pdf Editorial Issue 20 of Colloquy: text, theory, critique is a general issue, which pre- sents research on a diverse selection of themes.
    [Show full text]
  • Biographical Information
    BIOGRAPHICAL INFORMATION ADAMS, Glenda (1940- ) b Sydney, moved to New York to write and study 1964; 2 vols short fiction, 2 novels including Hottest Night of the Century (1979) and Dancing on Coral (1986); Miles Franklin Award 1988. ADAMSON, Robert (1943- ) spent several periods of youth in gaols; 8 vols poetry; leading figure in 'New Australian Poetry' movement, editor New Poetry in early 1970s. ANDERSON, Ethel (1883-1958) b England, educated Sydney, lived in India; 2 vols poetry, 2 essay collections, 3 vols short fiction, including At Parramatta (1956). ANDERSON, Jessica (1925- ) 5 novels, including Tirra Lirra by the River (1978), 2 vols short fiction, including Stories from the Warm Zone and Sydney Stories (1987); Miles Franklin Award 1978, 1980, NSW Premier's Award 1980. AsTLEY, Thea (1925- ) teacher, novelist, writer of short fiction, editor; 10 novels, including A Kindness Cup (1974), 2 vols short fiction, including It's Raining in Mango (1987); 3 times winner Miles Franklin Award, Steele Rudd Award 1988. ATKINSON, Caroline (1834-72) first Australian-born woman novelist; 2 novels, including Gertrude the Emigrant (1857). BAIL, Murray (1941- ) 1 vol. short fiction, 2 novels, Homesickness (1980) and Holden's Performance (1987); National Book Council Award, Age Book of the Year Award 1980, Victorian Premier's Award 1988. BANDLER, Faith (1918- ) b Murwillumbah, father a Vanuatuan; 2 semi­ autobiographical novels, Wacvie (1977) and Welou My Brother (1984); strongly identified with struggle for Aboriginal rights. BAYNTON, Barbara (1857-1929) b Scone, NSW; 1 vol. short fiction, Bush Studies (1902), 1 novel; after 1904 alternated residence between Australia and England.
    [Show full text]
  • International & Australian Posters
    International & Australian Posters Collectors’ List No. 157, 2012 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY Australian & International Events, Performances... Established 1977 1. “The Recruiting Officer,” 1790. Letterpress 103a Anzac Parade, Kensington (Sydney) NSW handbill, 25.1 x 17.2cm (paper). Laid down on acid- free paper. Post: PO Box 93, Kensington NSW 2033, Australia $1,250 Text includes “Theatre Royal, Covent Garden… This present Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Thursday, February 25, 1790, will be presented a comedy, called The Recruiting Officer. After which will be performed, Email: [email protected] • Web: joseflebovicgallery.com for the 39th time, a pantomime, called Harlequin’s Chpalet Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 [sic]…” A cast list for both plays is included. Written by George Farquhar in 1706, The Recruiting Officer was the Member of • Association of International Photography Art Dealers Inc. first play performed in Australia, in June 1789 in Sydney. This International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. handbill is for the London performance of 1790. 2. George E. Mason (Brit.). Mason’s Instructions For COLLECTORS’ LIST No. 157, 2012 Finger­­­­ing The Fretted Violin. A Diagram For The Use Of Students, c1890. Lithograph, International & Australian Posters 64.6 x 25cm. Foxing and stains overall, repaired tears, creases, pinholes, and missing portions. On exhibition from Wednesday, 13 June to Saturday, 4 August.
    [Show full text]
  • Two Kinds of Silence in Joan Lindsay's Picnic at Hanging Rock1
    The Precarity of the Inarticulate: Two Kinds of Silence in Joan Lindsay’s Picnic at Hanging Rock1 Adam Hulbert University of New South Wales “Miranda… !” There was no answering voice. The awful silence closed in and Edith began, quite loudly now, to scream. If her terrified cries had been heard by anyone but a wallaby squatting in a clump of bracken a few feet away, the picnic at Hanging Rock might yet have been just another picnic on a summer’s day. Nobody did hear them. The wallaby sprang up in alarm and bounded away, as Edith turned back, plunged blindly into the scrub and ran, stumbling and screaming, towards the plain. This early moment of Joan Lindsay’s Picnic at Hanging Rock (1967)2 is at the centre of a tragedy that ripples outward, spreading beyond the cloistered community of an all-girls boarding school and into the wider society of 1900s Victoria. The fate of a teacher, and of the three girls who wandered off during a school picnic, deep into the Australian bushland of Mount Macedon, remains unknown to the reader. The only clue is the parting scream of a fourth girl: she who is spared the silence inflicted on the others.3 This event is interwoven with two types of silence. Miranda’s silence is that of the rock, which looms precariously over the commu- Philament 22: Precarity philamentjournal.com 27 28 Philament 22: Precarity nity until its moment of collapse. It is both an absolute silence and a productive force: it produces noise without making its own articulation; it inspires a scream and a landslide, but never projects its own voice.
    [Show full text]