JINDYWOROBAK * ' 3 Harcourt Road, Rugby, S.A. f

, 18 Mulgarra Street, Northbridge, N.S.W. d4 . . Box 293 B, G.P.O., Melbourpe, C.I. , Towards an Australian Culture

General Editor: REX INGAMELbS. Editor in N.S.W.: William Hart-Smith. Editor in Victori~:Kenneth H. GiBord. KENNETH H. CIFFORD. Author of "The Reluctant Lover." Editor of "Selected Poems of Charles IHarpur."

Jindyworoba_k .Publications

(VICTORIAN ' OFFICE) No. 1

)~rltl~worolmkwas registered in the name of Rex Ingalnells in 1939, and J 110 person or pcrsons nay usc its name in any form of business except by MELBOLIRNE: ,qrrcrncnt w~thhim in fu~thernnccof the c~dturelpurpose of Jindyworobilk. JINDYWOROBAK Towards Culture INTRODUCTION. I. TRAVAIL OF THE PRE-CULTURE.

The Jindyworobak Club is probably the most important "The racketing rush of trams literary movenlent in to-day. Though its members in George Street on wet nights, are mainly practising and versifiers, its challenge to a the hooting horns of motor cars better understanding of the Australian environment is a chal- and the lurid neon lights- lenge to all Australians to create a living and unique Australia. the clattering pandemonium The Jindyworobaks have shouldered the burden of asserting of Sydney haunts the brain Australia~lcultural values, and their seclrch has therefore been when a man sits where the world is bare for the distinctively Australian. The casual reader may suspect of all but the bush and rain. that in the emphasis of the Australian lies the seeds of dis- ruption, and that what the jindyworobaks will achieve is the The stars in the sky are dead, breaking off of Australia from the British Empire. But straight- the moon in the clouds is dark; thinking people will realise that these writers are standing for but now the trams go clanging down something that means not a breaking but a re-examining of the to the city by Hyde Park, ties that have linked Ai~stralianculture to the English cultural and hundreds are sick with glamour where heritage that is ours. It is the belief of the Jindyworobak the night-lights glitter far- that a true virile Australian culture can be achieved for us in places as slick as the names that stick. only by the jo~lli~lgof the distinctively Australian to the best Top Hat and the Ginger Jar. of our English cultural heritage. But once on a night alone, the rest of Sydney gay, KENNETH H. GIFFORD. I watched mad moonlight revel on red roofs at Double Bay; and more than another thing in life I wished to plunge again in a quiet where the world was bare of all but the bush and rain."

Those lines written by Rex Ingn~~lellsare truly represen- tative of the spirit that underlies and seemingly has always been the dominant undercurrent in the stream of Australian ~x~try.'I'lik. Au~lri~li,l~lpoet i~lnloslil~v;irinbl~ writes in the The real tcst of a people's culture is the way in which town and of thc bush. l'herc is ;in ~nescapables'ense of con- they express thenlselves in relation to their environmcnt. and the loftiness and universality of their artistic conceptions raised tri~stbctween two c.ultures, and the ill choosing thQ t ol tl~ehush has choscn that which alone is capable of developpg on that basis. Australians have not yet reacted to their back- into the true national culture we must have before we may lay ground; in the main, they have not even truly sensed its exis- claims to nationhood. The conflict between the city and the tence. There arc still too many oaks and poplars hiding the bush is a conflict between an alien and an Australian culture. gums, too many blackberries infesting the countryside for the Nodding Blue Lily to make its shy presence known. If we Australia has produced many verse-makers. Their works are to achieve an Australian culture we must sacrifice much to have ranged from the almost-jingoism of Paterson to the sing- which we have been accustonled in the past, and in its place ing cadences of Shaw Neilson, the "Great Lover" of Australian we must find an even older past, a past that is truly Australian. . Thcir subjects have ranged from the stirring struggle An Australian culture depends, to quote Mr. Ingamells, "on of the pioneers to the quieting sound of billabongs at night. the fulfilment and sublimation of certain definite conditions. And they have produced their schools, their literary move- namely: ments in abundance. They have risen flaming in the heat of noon-day, and, without exception, they have faded with the 1. A clear recognition of environmental values; greying oE the sunset at night-fall. For a11 the burning of 2. The debunking of much nonsense; their flames they have left but little mark; here and there a scar 3. An understanding of Australia's history and traditions. to show where they have rested awhile, and then even that is primaeval, colonial. and modern." gone. These arc the grass-fires of literature: perhaps they even Each of these conditions will demand consideration as achieve a little cleansing, but they never attain the majesty our theme develops, but the first and by far the most impor- of the irresistibly powerful blaze that sweeps relentlessly. tant must be given considerable attention. It is basic to the leaving its mark for generations to come. The Jindyworobak whole conception of an Australian culture; it contains thc Club is the first great bushfire in Australian literature. Before germ of life from which alone an Australian culture can de- its blaze tangled undergrowth and foreign-cultured trees alike velop. If we are to be honest, we cannot speak of an Aus. collapse; along its pathway the ground is prepared for the fer- tralian dawn as did Evans in his poem On the Plain: tile literatim that must follow. "Half-lost in film of faintest lawn, " Jindyworobak" is an aboriginal work meaning "to annex", A single star in armour white "to joirl". 7'0 thosc who are striving towards an Australian Upon the dreaming heights of dawn ci~ltureit has come to mean something- more; it has come, as Guards the dim frontiers of the night. we shall see presently. to represent sn annexing of all that Till plumed ray is heautifi~land true in the Australia11 background, and the And golden spray joinlng to it oi all that is good and applicable in our English Have washed its trembling light away. cultural hcr~tage. It has come to be above all the Charter of Australial~culture, the right of Australia to be Australia and The sun has peeped above the blue; of Australians to be Australians. The Jindyworobaks are, as His level lances as they pass Ingamells has described them, "those individuals who are en- Have shot the dew-drops thro' and thro', deavouring to free from whatever alien influ- And dashed with rubies all the grass, ences trarnnlel it, that is, to bring it into proper contact with And silver sound its material." And art, here, I believe, includes any true ex- Of horse-bells round pression' of the creative spirit. Floats softly o'er the jewelled ground." Observe the epithets that the poet chooses: a "film of faintest direct thought-contact with Nature. Although emotionally lawn", a star "in arniour wltite", thc "level Ianc~s"of the sun. and spiritually they should be, and, I believe, are more 'There we have the English tradition at its height, with the attuned to the distinctive bush, hill and coastal places breath of mediaevalism still clingillg to the hardly- they visit than to the parks and gardens around the changing scene. Perhaps those lines are a perfect pictl~zof. cities, their thought-idiom belongs to the latter not to the say, Sherwood Forest with its quiet covering of leaves: I do former." not know. But I do know that they achieve nothing more than the casting of a filming veil when applied to the Ai~stralinn This pseudo-Europeanism is iio cloak behind which 0111 countryside; the Australian bush is rugged and virile, the great writers seek 10 shelter: it is a tower of destruction threatening plains in the morning are crisping, firm. And the A~!stralian 10 crash upon our glimmering nationhood, to crl~shit in its in- author, be he painter, novelist or poet, must recognise this cipicrir stnlgglcs, and to doom 11s to unthinking s~rbservience. fact. To quote Mr. Inganiells again, "any genuine culture Take, for example, the outlook on the Australian scene that that might develop in Australia, however it might be refreshed formed the background of the literary criticism of Professor and inspired by English influences, would have ta represent Cowling. Here are his words as they appeared ~n the Mel- the birth of a new soul. . . . Its quintessence must lie in the bourne Age on February 16th, 1935: realisation of whatever things are distinctive in our environ- "Australia is not yet in the centre of the rnnp and has ment and their sublimation in art and idea, in culture." Twenty no London. There are no ancient churches, castles, ruins years before Jilidyworobak, Wilson touched on the very nervc- -the memorials of generations departed. From the point centre of our still-born culture, and sensed for a moment thc of view of literature this means that we can never hope aching void that lies at the heart of our literature: ro have a Scott. a Balzac, a Dumas." "We should glve the local saints a chancc to play thc local game, The same theory applied to poetry begets such lines as: Not import them from outside because they've got LIII "The cattle-tracks between the trees old brand ~~ame." Were like long dusky aisles." Australia has suffered too much from her foleign tics; her Gumtrees can no more be twisted into a resemblance, however culture has been developed in their cloaking mass, her individu- fanciful, to the oak-pressed lines of Gothic architecture than ality has been choked in their hopeless maze. For a century can the Australian countryside suddenly b1oo111 forth in thc and a half we have trodden blindly, unseeing: and still today ruined castles for which Professor Cowling longs. It is nct we tread a twilight path. As a people we are afflicted ~lntilwe free ourselves from this creniping encu~rlbranccof in- with an alien culture totally unfitted for the country with which tellectual conservatism that we shall achieve our entity, or our we must grapple to gain our daily existence. Europeanism cnlotional and spiritual potentialities gain the conditions chokes our minds from birth, spreading its strangling tentacles necessary for growth. into our schools, reaching into our democracy to pull it down into the gloom of European night. As Mr. Ingamells has so But though the Jindyworobaks are fighting to free them- acutely observed in his own statement of the Jindyworobak selves and their country from the ensnaring meshes of Huro- force: peanism, it is not to be assumed that the Jindyworoba~Club "Pseudo-Europeanism clogs the minds of most Aus- is narrowly chauvinistic in its outloolc. That point is clearl), tralians, preventing a free appreciation of Nature. Their established by Victor Kennedy in his Flaunted Banners: "The speech and thought-idioms are European, they have little Jindyworobak movement," he says, "does not go all !hc \vay with the youthful banner bearers of modernity in overthrowing 11. BACKGROUND FOR POETRY. all restraint and cliscipline; nor in decrying what has been done in the past." The Jindyworobnk retains the balancc In the fire of Australian literature there has been much necessary to see the humow that obtains in his ineJt+lc smoke and little flame. Kendal and Lawson. Gordon and # struggle. Consider The Thororlgh Arlssie by P. L. Grano, Paterson, tin gods of the Pseudo-Europeans, are by the tests himself a contributor to the Jindyworobak Anthologies: we have propounded in a large part of their works un-Austra- lian. Writers such as Harpur, O'Dowd, Neilson, and our "My flesh is grass. It's only meet contemporary James Devaney are not to be lightly passed over; The circle should be made complete. but the great Australian poets have been few. Yet as early So when die I pray return I as 1923 Serle had classified more thalr 2,700 volu~nesof vcrsc. My body to the soil and do not bilrn. by at least 1,400 Australasian poets and would-be poets. In But, Hell! how angry will be, I painting, the story is happily different; but in literature, and, If after all it's Luck's decree particularly in verse, Australia is too ciuttered up with a multi- No native grass an\ to feed I plicity of minor writers. Why should so many sfrive yet so But some darn alien noxious weed!" few succeed? The reasons are, I believe, fourfold: Or again, and perhaps rather more pointedly, there is 1. The. refusal of Australia to allow her writers to live Patriotism by the same author: by writing alone; "All wood here used is Queensland wood. 2. An almost total lack of criticism of a standard high The blossonls pictured are of Oueenslancl trees, enough to be helpful: The table too is, as it should Be, a product of our factories. 3. A nation-wide antipathy to all things Anstrdian- rim We must agree are not so good historical relic of the days long past when some now 'The paper flowers with wiry stem, illustrious name wore the broad arrow of the convict But let it be quite understood settler; They're Queensland flies that craw; on them." 4. A failure among writers to appreciate their peculiar Australian environment. Such laughter is filled with the cleansing Australian sunlight. While it persists, the spirit of Jindyworobalc will not consume The picture of the artist struggling as schoolmaster, clerk, or itself. journalist to earn a poor living by day and turning at night to endeavour to fulfil his creative urge is too well-known to anyone connected with our literary circles today to bear pain- ful repetition. The forcing of our writers into a conflict against rather than with their environment is only another product of tile national sentiment, "Brains wanted-Cheap."

It is with the failure of so many of 0111. writers them- selves that we are here chiefly concerned, a failure that has cast a deep shadow over our literary life, and surely must be a potent factor in separating the better Australian writer from iiis public. If the Australian writer is to achieve a self-fulfil- The Jindyworobak is unique in Australian literature be- ~~ierit,he 11111stbc made to forgel. any sense of,inferiorlty to cause he has learnt a new approach to his envlronment, yet an llis ovcrsciis fellow that his countrymen have tried to instil approach that has in it the age of the very rock-hills them- in his ri~ind. Art is international and universal even altfiougb selves. It is an approach that has only been cultivated as the ~tsexpressioll miry be specialised and individual. The Erx$ish result of much hard labour over the last one hundred and thirty :t~~rl[hc. At~str~rlii~llpoc~s Lire kindred spirits: both alike are years, but it is now approaching its consununation. Where our c1'C;llorS edrly writers saw only n cold and unrelenting, ever-forbidding

.(Ic.cb~~~lc.d .. to power nllhougl~they know not why." roc!<-face the Jillclyworobdk is now able 10 see thc wl~olcstoried I[ 1s ol~lyIwcausc ~hcAust~aliall poet has failed to reniove jxist OI a thous,~ntl years. klow well is this spirit captured In [l~rI'IL\~II~ vL'il tll;lt Ili~~i~jsir\vk\v;~rdIy upon the rugged Aus- Ue>rtlc the Ri~rrge by the Inkntd of the Jindy~orob~lkMove- 1ri11ia1111aturc that lie has failed (with certain important ex- ment: ceptions) to chie eve a greatness akin to his English brother's. "Do you but see uncertain hills, upon whose crests the white stars freeze? 'The Ji~~d~worohakClub reveals itself as a common reach- and only hear the cricket-shrills ing out in the minds of many vaned writers to the atmosphere and word of wind among the trees? in which they move, to the background of which they are bred. Yet you may mark red fires and blacks, .Their inspiration is Australian nature and Australian history: whose limber bodies leap and gleam, and shouts colne from the mountain-backs "Sun and rock relay me power . . . to burst the boundary gates of dream." ~iebulae,instruct my seeing . . . bird and beast and tree and flower That spirit is distinctively Australian; it has its source not in grant me your brotherhood of being . . . any quaintly-clinging mediaevalism, but in the virile earth- 1 am to you ambassador culture of the vanished tribes. to keep the faith of vanished men."

'I'hey have drunk deep of the true spirit of Australia, and their urge is to paint it in living pictures: III. THE EARTH ,CULTURE OF TI-IE ALCHERA.

" . . . Write me! Dip your pen Our traditions in Australia today are twofold. We can- in Australian night and day!" not forget all that great heritage of culture that our forefathers brought with them from England, but we must take equal care For the first tme their sribject-matter has become truly Aus- not to neglect our equally rich and peculiarly distinctive experi- tralian, because for the first tinie they have appreciated the true ences of our Australian home. Here in Australia we haw sti'I'heir vision has become a faith that they must traditions worth having, traditions such as no other country :-p~.cadthrough the heart of their oreat continent: possesses, and it is these traditions that are of supreme im- portance to us culturally. But to appreciate them we must "My heart would give you joy of this banish many cherished but ill-conceived notions of those who that riots in the air, were truly the Origi~lalAustralians. Today the abor~gineis the vibrant colour, warmth and sound, forgetful of all that was best in his own high culture. He ha5 Ausl~xliaeverywhere." become the embodiment of all that 1s worst in ours. He is a degenerate, fly-blown creature begging for charity on the edges "Ku-ran-dur threw his spear. The white man's fire- of the civilisation that has ruined him. He is no more than a sticks replied with much anger. walking parody of the proud race from which he' sprang. The sad spectacle is given lasting permanence in Garry 1Lyle's I'The strangers bring no message, yet they walk over 'f'lrc. Or~f~.irsf,a pucm tlcep with feeling fur this dying rap: the land of Bra-yak-alung. So be it. Take your spears "Squats the old mar. and boomerangs: test each man's shield, and we, who are age-crippled by the town's edge, the Wise Men, will lead our warriors to Victory. Those bush-longing town-hatred who trespass so must die." defeat in his eyes. defeat and a death-wish. The culture of this virile people was peculiarly an earth Immobile he squats, culture; they were as no other race has been so long as history alien, outcast, despised can tell a part of nature herself. Their whole culture was by the parvenu lords of his land." borlncl up with their environment; their whole life was lived in nature. Though originally strangers to the Australian conti- The aborigine was not always the unedifying wreck of nent, through constant contact of thousands of generations humanity that the white man has made him. His was a with Australian earth they had become a part of it. Every bird race that proudly lived and proudly fought to retain its inde- and beast, every tree and flower, every prominent rocky emi- pendence against the unheeding land-grabbing dominance of nence had its own history told in song and story round the the white conquerors. I-Iis resistance was futile, fraught with red-blaze of the evening camp-fires. bewilder~nentat the new material culture thrmt before him; but it was a resistance worthy of his proud traditions. With The origin of the legends is deep-set in time, even in the true insight into the aboriginal mind. Tarlton Rayment re- dawn of t!le human race itself. Let the greying mists 3f even- creates the seet hing anger that spread through the coastal ing sweep along the river, let their shrouding folds envelop tribes when Captain Cook first trespassed on the New Soutll the city spires, and in their place see again the forest of great Wales coast one S1tnday afternoon in April 1770: gums that once clothed the present site of city streets. Let the nlists rise further and submerge even the trees in their A,.-- I his has been our tribal land since the days of the greyness, let the mountains and the hills smk beneath the level Alcheringn. The Euro and the Emu tall to our speary. of the plain. Sense the earth groaning with the travail of Our women are fat: our children are nlany. Vast is our creation, and across it see the proud tribes pass-masters of hunting-grou~d. their growing world. Now is the tinlt. of Alchera, dawn-ti~nc of history. A great crocodile rushes across the plain, fast "The tribe of Bra-yak-alung is mighty, for many pursued by an Alchera tribesman. 111 the twilight a spear is nmons-sit-down sincr our Wise Man, Bra-ya!c's son, thrown. and the crocodile lies quivering. Shaking Nature arise clrove out the Wild-Cat People, and we dwell in plenty. in hrr trouble and heaves forth as an everlasting lnonunie~lt that great body of rock in the shape of Alchrringa crocodile "But our brothers, Na~nburand Ku-ran-dur, have that man has known as the Dandenongs. And the ancient come to tell us of strange things. They saw a mighty tribesman himself, exhausted by his long chase, seeks rest Koon-doo sail on the Great Waters: from her belly came in the spirit hunting-grounds. The heavens, still scarcely smaller Koon-tloos with white men carrying long fire-sticks above his head, open to receive him, and his night-fire shines that make loud talk. forth among the stars. Elsewhere a faithful woman waits in vain for her dead lover to return. Worn out with hunger, she The Australian poet must cry with Mudie: dies at her self-appointed post. Far away arqong the rocks "Let us, oh sun, take fire where she waited so long in vain, her dead body gives risc from your bright heat, let bushfires rage to the beautiful red-blushing waratah. A great gumtr* rises about the scrub and ranges of our hearts." and the sky is forced upward to where it now rests; so& of it clings to the brown earth, and the rivers and the sea are He must paint the truly Australian in a way that is itself trdy born. reflective of the scene it paints. He must learn, as R. Kate The Australian earth culture is a culture alive, a culture learnt in The Waratah. to express himself through his ageless that is in all respects pre-eminently Australian. In embracing 0 traditions: it there is no question of becoming aborigines, of eating goannas "How many dawns and sunset came and hudd!ing naked in gunyahs while the cold night-wind Across the valley of the years blows, or of catching our meal with spear or boomerang. In Before your heart of sculptured flame embracing our earth culture we :Ire e~nbracingthat which is Blazed through its galaxy of spears? peculiarly ours; we are letting the rugged Australian sunlight Green spears that lift with one desire ' into our souls, and becoming for the first time truly Australian. To shield your heart of chiselled fire!"

IHis verse forms must probe the dim caverns of the Nullarbor, 1V: NEW THOLIGHTS FOR OLD. must wander through the mid-day quiet of the b~h,and reflect triumphantly the electric colour of sundown burning A new culture must be possessed of a new idiom. The on the purple hills. His song of liyht must be a sun-corro- thought-forms of the past are no longer applicable, and a new boree, his song of night a painting of the quiet of the night- language must arise to fill the void. The uew literature must walks of the earth the sun must travel to regain the morning. reflect the song of galahs at nightfall, catch the rhyth~riof Sr~prernely,this spirit is manifest in Ingamclls' Dark Cry: sun-filled rocks, echo the quiet sound of billabongs at night. jt ~nustcapture that spirit throqh which "Dark cry, claim the dark-shored Ialcc. "The barest hills in arid sand Quicken your echoes round the hills. Dwell burn beauty into sight in, possessing, earth and sky. Take when evening, with a savage hand. farewell. sets a11 their scarps dight." Engined with knowledge, as fast It is not enough merely to think ot gumtrees; the thought- that very way the confident mind must push idmm through which we convey our pictures must he adapted cry of a winging wild duck cast to them. Cattle tracks are no longer "long dusky aisles." 111 to the insatiable hush of the bush." IIIC plxe of such Gothic visions arise pictures of "Stern-hearted freemen, felling tall trees, building 17: EYES TO THE FUTURE. rough homesteads amid far, unfamiliar places." For one hundred and thirty years Australian poets have rugged pictures of hard days that fade into other pictures OF fought against the shackles of misconception. The story ol "klerds of cattle, lowing by the fertile hanks of their fight is the story of the development of Australian litera- eastcrn rivers; drowsing under redgums, where the black- ture (a story that must be told elsewhere). For one hundred and-whitt. magpie sits calling ecstatically." and fifty years Australians have lived in the twilight of a There is the Jindyworobak at work building the new culture pseudo-European culture, their eyes fogged with a lawny mis- in which he believes. When that same system extends through tiness; today they are called out into the blazing Australian every school in the Commonwealth, we may claim to have laid sunlight, and their eyes must be adapted. Culture isTnot as the foundations of a truly Australian culture. When that cul- science reserved for the specialised few; it is universd4; its ture is absorbed into the stream of our national life, we shall appl~cabil~ty.Cdturc is the strength on which national re- have begun to achieve in some real measure our own nation- sistence is based in times of great emergency; in a nation it hood. can he measured only as it permeates every section of the population.

It is futile to t~ninour poets alone in the ways oi our new-old cultu~+e.Unless it extends to the wholc of the people, thc new Australian culture we have env~sagedcannot progress beyond its incipient strugglings, and its value will be lost. But if it is to be sprcad among the people, the choking weds of Austr~~Iier~i..:~~iIIILIS~he uI~roo~cclIrom our schools, and in their jhce the srecls of the new culture nus st be sown. Ar~stralian CFIRONOLOGICAL LIST OF JINDYWOROUAK l~istoryPI-imaeval, colonial and modern must be tairght to the PUBLICATIONS. partial exclusion of the history of Frillice and of Germarly, ot Greece and of Rorr~e. Our kindergartens and our wireless 1938: Conditional Culture, by Rex Ingamells, with a Com- broadcasts for children must learn to retell the tides of the mentary by Ian Tilbrook. Alchern, and our city-children must be led to sense the !ure of tl~cbush. Our whole educational system as well as much Sun-Freedorrl, by Rex Ingamells. of our national life will need a re-orientation. A Jindyworobak, Jindyivorobak Anthology, 1938, edited by Rex Ingamells. coliclucti~~gclasses in Australian Literature, writes: 1939: Venture, Quarterly Pamphlet, three issues, edited by "My new headmaster is a great bloke, a decent . . . Rex Ingamells. and con~t'ortablescout to be near. His notion is not to Jindyrvorobak Anthology, edited by Rex Ingamells. limit my particular interests but to allow them to expand, 1939, and that within the school. He has a large allotme2t The Gift of Blood, by Max Harris. each year for purchasing library boolcs and has asked me to supply regular lists of Australian books, declaring that 1940: Venture, Quarterly Pamphlet, two issues, edited by Rex he will put in the library books I recommend. He Ingamells. asks that I take an "observer's interest" in the Art Memory of Hills, by Rex Ingamells. classt:~ il~l~ltl~i~t I sti111il1;1te those classes' interests Jirldy~vor~bakAnthology, 1940, edited by Rex Ingamells. in Australian drawing, painting, sculpture, and archi- tecture. Four pcriods a week I am to devote to Social 194 1 : Flaunted Banners, by Victor Kennedy. Studies with various classes: in these I am to pursue my At a Boundary, by Rex and John Inganiells. own syllabus. into which I am to i~ltroducea proportion Jindyworobak Anthology, 1941, edited by Rex Ingamells. ol Australian atmosphere. Four other periods, with the same classes, are to be on Australian literature outright." 1942: P/ir~ntort~,by Gina Balliin~~ne. jindy~vorobakAnthology, 1942, edited by Victor Ken- 1,000 copies printed by Economy Press, . ~ledy. News of the Sun, by Rex Ingarnells. Z 1943: Colclrnlms Goes Wcst, by William Idart-Smith. r" Vagri~rrt,by Gina Ballantyne. ?'heir Seven Stars Llriseen, by Icn Mud~e. Content arc the Qtriet Ranges, by Rex Ingamells. Ilnknoron I.antl, by Rex Ingamells. 7'lte A~~stritliilnDreilnl, by lan Mudir. Jint1ylvorol)dk Antllology, 1943, edited Sy Flexmorc Iludson.

1944 (March to April): 7'1tc Reluctant Lover, by Kenneth JI. Gifford. jintly~vorot)ak-Torvards an Australian Cllltllrc, by Kenncth H. Gifford. Rralgall, by R. Kate. Neil) Son{) in an Old I.,?ricl. edited by Rex lngamells.

Projected Publications: Re!jor~d the Grass-Tree Spears, by Roland E. Robinson. Pn~.i/ir-Moon, by Peter Miles. An Anthology of Servicemen's Verse-edited by Ian Mudie.

'l'l:~ .IIIIIIJ:II Al~tl~ol~gicsI~~IVP 1w1.n pul)li~ldill itss~)cialio~i~i~li I:. CV. 1'rccc.r I.I~. Ncrr, So,t!j irl ;rr~ Old 1.i111tl is pul>l~slictl by 1.01lg111ar-I.;,w~rll [lie Ji~ltlyworolx~kimprint. Tllc Scrvice Anthology is to Iw pd)lihlit.d I)y GCO~~~RIIHOIIS~.with the Jindyworohak imprini.