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In a major piece of historical revisionism, Dr John Hirst has scrutinised the so-called evils of convict society in New South Wales between 1788 and 1840. Together with a mythology that has stemmed from it. He sees the image of Botany Bay as a place of depravity, where ‘vice is virtue, virtue vice’, as having been created by the opponents of transportation, the late eighteenth-century prison reformers such as John Howard and Jeremy Bentham; he traces their influence through Evangelicals, like Wilberforce, to the liberal Russell and the radical Molesworth who, in the 1830s, saw Australian settlers wallowing with their assignees in a sensual sty. Since the penal colonies would never cleanse themselves, it behoved indignant parliamentarians at Westminster so to do.

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The bias in settlement and exploitation of nineteenth-century Australia was essentially English. These Antipodes were classed as a wide white land, for the Anglo-Saxon. A Scot or a Welshman could have a place. They were Celts, and classed as ‘British’, close to the centre of England’s Empire, the greatest ever seen.

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A Nation Apart edited by John McLaren

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September 1983, no. 54

A Nation Apart is the title of this book of essays on contemporary Australia and it’s a good title because it summarises the fragmentation, the sense of disparateness, which characterizes this nation at the moment – and characterises the book itself.

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Pattern and Voice edited by John and Dorothy Colmer

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July 1983, no. 52

John and Dorothy Colmer have produced Pattern and Voice (Macmillan, $10.95 pb, 234 pp), an anthology of verse which will be of interest to all teachers and students of poetry. It has a blend of classic and contemporary poetry and includes many Australian poets.

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What major figure in Australian history, apart from Ned Kelly, has had more biographies than Archbishop Daniel Mannix? Librarians can give a decisive answer to this far from rhetorical question. Certainly, Mannix looms large in serious Australian historiography. There are personal studies by Captain Bryan (1919), E.J. Brady (1934), Frank Murphy (1948 and 1972), Niall Brennan (1964), and Walter Ebsworth (1977), and B.A. Santamaria’s short, weighty lecture of 1977. As well, the Mannix shelf is crammed with books like Michael McKernan’s Australian Churches at War, Gerard Henderson’s Mr. Santamaria and the Bishops, Patrick O’Farrell’s The Catholic Church and Community in Australia, and B.A. Santamaria’s Against the Tide – in all of which Mannix is a dominating force. There is no lack of information about the archbishop.

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In an increasingly secular age, The Lines of the Hand is an unusual book. Almost half of the poems it contains are direct communications with an evident and accessible God, while others are celebrations of Creation.

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‘This internment of ours is but a sideshow of the war’, says a former Dunera internee in this book. Yet this footnote to Britain’s war on the home front has acquired considerable importance for Australia.

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The portrait likely to emerge in this article will be more that of a trend in Australian literature than of a writer named Frank Hardy.

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There have been important publications in each of the fields of literary criticism, memoirs and biography, and history in New Zealand during the last few years. In a brief survey it is hardly possible to cover the field entirely; what I can do is to indicate what I take to be the important titles in each of these areas.

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The art of poetry is alive and well in New Zealand in the 1980s. In spite of the economic recession which has decimated literary journals and made the publication of poetry more than ever a dubious commercial proposition, in terms of both quality and quantity New Zealand poetry has probably never been stronger. There are a number of factors contributing to this situation. One is that, leaving aside isolated colonial precursors, poetry as a continuous history in New Zealand is a relatively recent affair going back only fifty or sixty years. Consequently, the stream has become broader and deeper with each passing decade, and yet the beginnings of the tradition are still (as it were) concurrent through the survival and continued activity of poets such as Allen Curnow, now in his seventies, who published his first book fifty years ago. There are in the 1980s poets active from every subsequent generation which has fed into the stream: poets from the 1940s (Louis Johnson, Kendrick Smithyman, Alistair Campbell), poets from the 1950s (Ruth Dallas, W.H. Oliver, C.K. Stead), poets from the 1960s (Vincent O’Sullivan, Hone Tuwhare. Michael Jackson), poets from the 1970s (Sam Hunt, Bill Manhire, Ian Wedde), and finally poets who have emerged within the last few years (Meg Campbell, Keri Hulme, Cilla McQueen), to mention only representative names.

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