Craig Munro

Craig Munro’s latest book shines a spotlight on the work of some very different Australian book editors. It begins in the 1890s, when A.G. Stephens came into prominence as literary editor of The Bulletin’s famous Red Page. It continues through the trials and tribulations of P.R. (‘Inky’) Stephensen in publishing and radical politics in the interwar period and his internment during the war for his association with the Australia First Movement. Literary Lion Tamers then moves on to Beatrice Davis’s long career as a professional book editor with Angus & Robertson after World War II. It concludes with Rosanne Fitzgibbon, with whom Munro developed fiction and poetry lists at the University of Queensland Press.

The career of one of Australia’s most talented novelists, Barbara Hanrahan (1939–91), was cut short by illness, and her work has now largely slipped from view. I edited several of her novels in the late 1970s for the University of Queensland Press. Whereas other UQP authors of the time, such as the gregarious Olga Masters, enjoyed media attention, with the introspective Barbara Hanrahan it was a struggle to build the readership her talent deserved.

Do not be misled by the ‘Childhood Memories’ of the subtitle. Self-indulgent nostalgia is nowhere to be found in this book, which is a richly novelistic saga of a war-time family in Britain. It is Rodney Hall’s genius that his story evokes strong personal memories in the mind of the reader: in my case of a North Queensland childhood during the 1950s, punctuated by destructive cyclones and deadly marine stingers, rather than by German air raids. To read this book is a double pleasure: we enter both the world of young Rod and our own childhood at the same time.

This eagerly awaited volume is the last in a trilogy which will recount the history of the book in Australia. The first volume, which will cover the years to 1890, is in preparation. Volume Two, A History of the Book in Australia, 1891–1945: A National Culture in a Colonised Market, edited by Martyn Lyons and John Arnold, was published in 2001.

What is a history of the book? The present volume regrettably does not tell us. We need to consult Volume Two, where Martyn Lyons tells us that it is the history of print culture: ‘The historian of the book is concerned not just with the creative imagination but with all the processes of production, including typesetting, binding, illustration, editing, proofreading, designing, and publishing.’ In addition to the history of book production, the history of print culture encompasses distribution and reception, which involves bookshops and booksellers, libraries and librarians, and, by no means least, readers. The promotion of reading and its hindrance (censorship and other factors) are important topics. It is a broad canvas.

The only woman in The First UQP Story Book is the naked one on the front cover. She is sitting in a kind of beanbag chair with her legs crossed and a floppy straw hat pulled down over her eyes. She is reading a book called The Possession of Amber which is by Nicholas Jose. Nicholas Jose is a man and so he was allowed to be actually in The First UQP Story Book.

Rae Desmond Jones has joined the growing band of poets now working in the more expansive medium of prose diction (thereby possibly expanding their readership as well). Others that come to mind are David Malouf, Roger McDonald, and Rodney Hall.

At just 74 pages, Rae Desmond Jones’s first story collection gives the impression of being a slim volume. The contents page lists only ten stories. Yet this impression is deceptive. There are actually twelve stories (inexplicably, two aren’t listed in the contents), and the usual typography concentrates the prose, emphasizing its density and the sense of menace underlying the narratives.