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A Topic Such As Literature in North Queenstand Raises LITERATURE IN NORTH QUEENSLAND: CHARACTERISTICS AND CONTENT Ms. CM. Frost A topic such as Literature in North Queenstand raises many questions, but one which should, perhaps, be answered fairly early is: Is there a North Queensland regional literature? The problem is not whether a literature exists in North Queensland, but whether it deserves to be called "regional". Regionalism has been a fashionable subject in different times and places with literary critics and social theorists alike. It was thoroughly investigated, for instance, by Howard W. Odum and Henry E. 2 Moore who, in their massive volume, American Regionalism isolated and examined no fewer than twenty-eight different concepts of the region. For present purposes, however, it will be sufficient to consider regional literatures as consisting of two main types. For the first type, "local" would be a more accurate descriptive word, since this is the literature of a single small locality - a town, district or even an institution. The works of the Black Mountain poets, which stemmed from the Black Mountain College in North Carolina in the 1950's, and which started American poetry in a new direction, are a distinguished example of "local" literature. The distinction is, however, somewhat preternatural, since Charles Olsen, Robert Greeley, Robert Duncan and the other writers had been specially invited to the College, which was an glite institution. Probably partly as a result of this, their works do not demonstrate that dedication to the locality which is a usual feature of "local" literature. The second type of literature really deserves to be called "regional", since the territories involved are much larger. In some cases, for example in parts of France and Germany today and in Britain until the sixteenth century, the region is synonjrmous with a dialectal 131 CHERYL FROST area, and defining the literature becomes merely a matter of recognizing the dialect. Regional literatures also arise, however, from a feeling of cultural or ideological distinctiveness which usually has a foothold in reality. An example of a regional literature of this type, again American and again distinguished, are the works of the Fugitive writers, later known as the Agrarians and later still as the New Critics, who flourished in Nashville, Tennessee, during the 1930's and afterwards. Although the Agrarians were centred on Vanderbilt University, a clear concept of Southern,"Dixieland", regionalism emerges from their works. The major authors, John Crowe Ransom, Donald Davidson, Robert Penn Warren and Allen Tate, who were writing, it will be remembered, during the depression, advocated a rejection of northern industrialism, and a return to the leisured agrarian society of the old South. In such a society, they argued, the arts, as well as a traditional religion, might be expected to flourish. The regionalism of these writers had a firm cultural foundation, which was strengthened by recollections of the Civil War, in which the South had been despoiled by the northern aggressor. A true regional literature comparable in type with Southern Agrarianism has never evolved in North Queensland. On the other hand, regional literature of the first type described above - really a literature of the district, or "local" literature - is common. An orientation to the locality is actually apparent in all genres. "Local" histories in North Queensland are properly so called, since they deal typically with what are, by Australian standards, small areas - Clump Point, Cairns, Innisfail, the Mareeba District, Townsville, and so on. The trend to local concern in history writing has been encouraged by Town and Shire Councils, who have financed multitudinous "Souvenir" and "Centenary" booklets. The academic historians, who came on the scene rather late, have countered the trend o only in part. Among the creative writers. North Queensland poets. 132 LITERATURE IN NORTH QUEENSLAND: CHARACTERISTICS AND CONTENT like poets everywhere, often deal with common human themes, such as love and religion, without any reference to a locality. However, where a locality is named, it is more likely to be a district than the q whole region. Thus, poets such as Heber Hedley Booth and the Rt. Rev. Gilbert White, who wrote about the Gulf Country and the Cape early in this century, and Sybil J. Kimmins, who recently published a book of verse on the Cairns district, are more representative of North Queensland poets than Victor Kennedy, who, as the foreward to one of his volumes proclaims: ...sings his own beloved North, destined surely to have her own special laureates yet - and no Australian knows North Queensland better than Victor Kennedy. He therefore sings the sun, the 'red gold in the lilied lake', but also 'the slow days drenched with rain'.12 The prose writers, too, are almost always loyal to the sub-region. 13 Among the more obvious examples of this is E.J, Banfield, whose books deal exclusively with Dunk Island and its environs. Similarly, Una 14 Rothwell's adventure story for children centres on Mount Isa; and the animal tales of Henry Lamond are set for the most part in the Winton district. One novelist who showed considerable awareness of North Queensland as an homogeneous region was an outsider, Mary Rose Coulton, who used the pen-name, Sarah Campion. Her residence of a few 1 £ months in 1939, made her a lifelong enthusiast for the North, but in her Australian novels even she was concerned mainly with a sub- region - the Burdekin valley. Most North Queensland literature, then, has a local rather than a regional reference, and examples to support this could be multiplied almost indefinitely. The clinching proof of the non-existence of a genuinely regional literature here, however, is probably the fact that a viable literary journal has not yet been produced. In other countries regional schools of writers have almost invariably been associated with such journals. Examples are. Dial, which was the vehicle of Emerson and Thoreau during the literary burgeoning of New England and The Fugitive, which provided an early 133 CHERYL FROST home for the effusions of John Crowe Ransom and Robert Penn Warren. In North Queensland, the journals, like the works of individuals, have mostly been centred on a locality. 18 19 Productions such as Westlife, The Inland Review. and 20 The Islands Review proclaim this in their titles, but it is also true of Northern Affairs, which Victor Kennedy edited in Cairns in 1931 and 1932. Bill Bowyang's Magazine, whose editor was a rather remarkable —— 21 North Queensland poet and researcher, Alexander Vindex Vlnnard, appeared in two issues only, in 1927. Although it was subtitled, "North Queensland's Humorous Quarterly", its only real regional reference was to "the bush". The most influential North Queensland journal, and the one with the greatest capacity for survival, was the Monthly Magazine, which was put out by the wine and spirits merchants, Cummins and Campbell, of Flinders Street, Townsville. This ran without a break from April 1926 until May 1957, and was a truly regional journal, publishing articles on the history and development of most places in North Queensland. Unfortunately, its literary value was slight. The same is true of the journal with the best claim to be its successor - The North Australian Monthly, which was edited by the ubiquitous Mr. Glenville Pike from 1954 to 1965. This production contained more verses and short stories than Cummins' and Campbell's, but replaced the carefully written historical articles, and the concern with Northern tradition, which were desirable features of the older journal, with current anecdotes, articles promoting tourism, and reports on commercial enterprises. Neither the Monthly Magazine nor The North Australian Monthly was the vehicle of a regional school of creative writers, and it would be meaningless to compare them with such journals as Dial and The Fugitive. The conclusion must be drawn, therefore, that a regional literature of the second type defined above does not exist in North Queensland. It seems reasonable to ask Why not?, and to take this as a second question. Three tentative answers may be advanced. 134 LITERATURE IN NORTH QUEENSLAND: CHARACTERISTICS AND CONTENT In the first place, although the concept of North Queensland as a separate region, marked off by a line drawn due west from Mackay, is held probably by a majority of the people living here, as well as by a majority of Australians, the foundations for it are in fact rather slight. The separationists, of whom there have been several generations, have for the most part grounded their arguments upon economics, and especially on the view that North Queensland does not reap its due reward for being, materially, the most productive part of the state. It is difficult to maintain the distinctiveness of the region on other grounds. Urban and country dwellers in North Queensland have a life-style similar to that of urban and country Australians elsewhere. The history of European settlement resembles that in other places, except that here the time-scale has been different. There has been no special communal experience, such as that of the American South during the Civil War, to distinguish this part of the country. Secondly, the non-development of a genuinely regional literature in North Queensland may be traced to a wide-spread cultural inertia. This has resulted in the region's invariably following the lead of the southern capitals in cultural matters. It is probably fruitless to speculate, at least in a short space, on the causes of North Queensland's cultural apathy. There are undoubtedly numerous contributory factors. The fact remains that, until recently, institutions supportive of cultural life, such as museums and art galleries, theatres, and colleges of higher learning have not been developed. From the point of view of writers, it is probably of greater significance that no major publishing company has ever been 22 set up here.
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