Archive

The Lu Rees Archives of Australian Children’s literature is a collection of children’s books and manuscripts whose stated purpose is to ‘provide resources for the study and research of Australian authors and illustrators, including both the literature and the historical and cultural context in which it was created’. Officially owned by the Children’s Book Council of Australia, and housed in the University of Canberra’s library, the collection of about fourteen thousand items provides a ‘particularly rich and comprehensive overview of Australian children’s literature, its creation and publishing endeavour’. Lu Rees, a foundation member of CBCA, started the collection with her own substantial holdings, and the collection encourages donations. Walter McVitty has made a gift of more than 3000 books and the entire archive of his publishing company, Walter McVitty Books, which existed from 1985 to 1997. In order to aid future researchers who might find the vast array of material in that archive bewildering, McVitty wrote explanatory notes of about twenty thousand words. He has expanded these into this book, which Lothian (the company that bought his imprint) has published.

In the era of gay liberation, ‘coming out’ has for many taken on the character of a religious experience. Gays and lesbians in the US draw easily on a religious culture of personal salvation even while denying the sometimes oppressive institutions it has created. In Australia, we are not given to the same public display of emotional and spiritual commitment, but ‘coming out’ has nevertheless come to be regarded as a gay rite of passage.

France in 1914 was in many ways almost completely different from how it was in 1789. In the 1780s France was an ‘agrarian pre-capitalist society’ in which the ‘location of most industry and the sources of power and most wealth were rural’. By the turn of the twentieth century, it was a capitalist society in which ‘an urban, bourgeois and republican culture had become as hegemonic as had been that of the Church and the aristocracy under the ancien régime’. The second edition of Melbourne academic Peter McPhee’s remarkable book, A Social History of France 1789–1914, explains why and how this occurred.

Bob Brown tells us the worst: ‘Half of the planet’s forest and woodlands are already gone’; every year, forest areas twice the size of Tasmania vanish from the map. At the same time, ‘There is a thin green line round the world’ – more than seventy Green parties contend for votes everywhere from Scotland to Mexico, Mongolia to Kenya. Jacques Chirac is trying to change the French constitution in favour of the environment; Les Verts have been doing pretty well in the European elections. Labor lassoes Peter Garrett. Even John Howard, while giving much aid and comfort to the fossil fuel industries, tries to sound as though he really supports renewable resources.

Charles Edwin Woodrow Bean was born in Bathurst, New South Wales, in 1879, but his family moved to England ten years later. Bean returned to Australia in 1904 and became a junior reporter on the Sydney Morning Herald. On assignment in western New South Wales to produce a series of articles on the wool industry, Bean decided that the most important part of the industry was the men on whose labour it depended. He collected these articles in On the Wool Track, published in 1910. Bean’s monument is his official history of Australia in World War I, which can be – and has been – interpreted as an exegesis of his famous sentence: ‘it was on 25th April, 1915, that the consciousness of Australian nationhood was born’. But the earlier On the Wool Track is an Australian classic, also: an elegant memorial of a vanished pastoral age.

After a few years ago, I had occasion to interview Bud Tingwell, and I remember telling an actress friend afterwards: ‘He talked for two hours without saying anything unkind about anyone.’ ‘Oh,’ she said, ‘he’s famous for it.’ This testimony came back to me while reading this autobiography: clearly not everyone he has had dealings with in his busy life has been sweetness and light, but it goes against the Tingwell grain to say so. What you see with Tingwell is what you get – a craftsmanlike actor and a tolerant, kindly man. The tolerance seems real, the cornerstone of a philosophy that makes him want to think the best of the people who have populated his life. So, if you’re after the kind of theatrical/film memoir that thrives on bitchy gossip, or if you want more bite, even if it means taking in a good dose of malice, look elsewhere.

The word ‘collected’ on a book of poems has its embedded dangers. Collected Poems are like autobiographies: they encourage readers to confuse them with the writer’s flow of life. And we can all see what’s wrong with that, I hope. That cagey old player, W.H. Auden, issued this injunction:

Great writers who have shown mankind
An order it has yet to find,
What if all critics say of you
As personalities be true?
You had the patience that survives
Soiled, shabby, egotistic lives …

He also refused to write an autobiography.

For some Australians, the exotic, exciting and ultimately tragic relationship of Charmian Clift (1923–69) and George Johnston (1912–70) has attained the mythical status of other famous literary couples of the twentieth century: F. Scott and Zelda, Virginia and Leonard, Ted and Sylvia. The combination of beautiful people, prolific and personal writing, illness and suicide makes them irresistible and seemingly inexhaustible subjects for biographers and readers alike. In the case of the Johnstons, escape to London from the conservative Australia of the 1950s, and then years on the Greek islands of Kalymnos and Hydra, add another level of fascination. The dream of an idyllic island life is a resilient one: evidence that it is unattainable only serves to strengthen the myth.