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Mary Lord
Mary Lord was a writer and academic.
Playlab Press is an offshoot of the Queensland Playwrights Laboratory which has the aim of assisting playwrights in the development of their craft through workshopping, production and possible publication of playscripts. It seems to be, with one exception, very much a regional enterprise and all the more admirable for it. The quality and number of these scripts culled, one assumes, from a much lar ... (read more)
Is there life after fifty? David Williamson’s newest play wittily affirms that love, adventure, and increasing self-knowledge are not the exclusive preserves of the young. Frank, seventy-five, retired engineer and ex-communist, is no spring chicken but neither is he ‘defunct in the physical area’. With his fifty-five-year-old lover, Frances, he sets off in his campervan to fulfil the dream o ... (read more)
This volume will come as a surprise to those who think of Esson simply as the father of Australian drama, the man who set out with the avowed aim of building up a national school of Australian drama, the author of the ironically titled classic, The Time Is Not Yet Ripe. Esson was not merely a talented playwright, but a prolific freelance writer and journalist as well as a dedicated nationalist and ... (read more)
Somewhere between seventy and eighty enthusiasts attended a conference at the University of Wollongong on 10–12 July to celebrate the work of Olga Masters, the award-winning novelist and short story writer who died in 1986. It was not the usual academic conference by anyone’s standards although, as might be expected, some academic papers were given. Interesting and provocative as these were, t ... (read more)
I’m well overdue with this article, and I suspect John McLaren is never going to speak to me again. Trouble is, I’m on a frenetic reading jag and its mainly McLaren’s fault.
On the Thursday of Writers’ Week, he beguiled me into the bookshop near the Writers’ Tent and in no time at all I emerged buckling at the knees under the weight of a carton of books written by many of the writers I ... (read more)
The more I think about it the more I am convinced that Ken Goodwin must have found this a brute of a book to write. Not that difficulties are apparent in the writing. Far from it. It is simply that, in looking at it from a reviewer’s point of view, I am increasingly aware of the constraints under that the author must have suffered while managing to produce a book which the general reader and the ... (read more)
It is surely one of the most widely believed tenets of Australia’s literary history that the short story has a special significance achieved with its rise to popularity in the 1890s under the patronage of the Bulletin and in the hands of a master craftsman like Henry Lawson. Orthodoxy has it that Australian literature was born in the 1890s: that is, it shucked off its colonial cast and developed ... (read more)
I have a theory that every second Australian is a closet short story writer. And this is a conservative estimate. According to my theory, the so-called ‘booms’ in the history of the Australian short story in the 1890s and 1950s merely reflected fashions in the book and magazine publishing businesses, not the relentless scratching away in exercise books or thumping of battered typewriters which ... (read more)
For those who think that opera in Australia only began to get off the ground this book will come as something of a shock. There was a time, over a hundred years ago, when enthusiastic audiences drawn from across the social spectrum supported ‘regular seasons of the world’s best musical theatre’ by a resident, commercial opera company which played in all the major capital cities. W.S. Lyster ... (read more)