Professional Documents
Culture Documents
Across countless acts of sustained creativity that can and do take years to perform,
and via reading habits, patterns of library usage and book-buying, Australians have
established an intimate relationship with the novel that has not been extended on the
same scale or in similar manner to other literary forms. Given these patterns of
production and consumption, which have been remarkably consistent across more
than 100 years, there seems little to dispute the assertion that, despite the often
literary form. Its centrality to literary culture has continued through many changes in
tastes, technologies and markets into the twentieth-first century. Between 1900 and
1969 more than 5000 Australian novels were published for the first time in print runs
ranging from the hundreds through to the tens and sometimes hundreds of thousands.
Poetry, short fiction and drama did not achieve anywhere near these figures either in
terms of published titles, sales or implied readerships. New novel titles doubled again
between 1970 and 2000, with more than 15000 published to 2000.
In other important respects the novel has been Australias pre-eminent literary form.
literary pages and specialist journals, within discussion and reading groups, and is the
subject of the greatest number of published textual and author-based research in peer-
studies. The novel is more visible within public culture than any other literary form
and well represented at all levels of Australian education. It is the subject of the most
1
prestigious literary awards nationally and internationally. The novel has also
established an enduring presence within wider creative cultures. There have been
many screen adaptations including films based on novels by Miles Franklin, Henry
Handel Richardson, Christina Stead, Jon Cleary, Thomas Keneally, Elizabeth Jolley,
Peter Carey, David Malouf, Tim Winton, Archie Weller, Christos Tsiolkas among
many more, and small screen adaptations for television including of the work of
George Johnston, Katharine Susannah Prichard, Neville Shute, Alan Marshall, Frank
Hardy, Martin Boyd, Ruth Park, Elizabeth Gaskin, Colleen McCullough and others.
To be fair, the first of two film adaptation of Banjo Patersons verse, The Man from
Snowy River became one of the highest grossing films in Australian cinema history,
with solid video and CD sales and a follow-up television series while playwright
David Williamson has been one of the most successful screen writers of his and others
works, but the closer relation with film and television has been the novel.1 It is also
possible to argue that the Australian novel has been more durable over a longer period
of time and influential culturally than film, music and the visual arts. Put simply, the
novel has been Australias most important and enduring literary genre.
Revolution. Its history has been woven into all aspects of the settlement history of
Australia. The spread of the novel to Australia came with the expansion of
colonialism south and east from Europe, into the Indian and Pacific Oceans, and
globally with the establishment of vast European empires from the late eighteenth
century. Even before then, an imagined Great South Land that would eventually
1
See Graeme Turner, National Fiction
2
English. With the use of modern mapping techniques, for example, it is possible to
plot the coordinates for Swifts Gullivers Travels into Australia, while Defoes
Robinson Crusoe owes a literary debt to the journals of William Dampier who visited
the northwest coast of Australia on two voyages in the late seventeenth century.
through Dickens and Trollope, for instance, while the colonies produced their own
Victorian novelists such as Catherine Helen Spence, Rosa Praed and others. Marcus
Clarkes novel of incarceration and exile, His Natural Life, was the most read of
Australian colonial fictions. Clarkes novel has been reproduced in many forms, from
adaptations. It would surely adapt well as a musical and popular opera along the lines
With the spread of empires came the spread of European languages, but none was as
history. By the mid twentieth century, English had become the worlds first truly
global language.2 Its influence and global presence continues strongly into the
without understanding the importance of the presence of the English language, its
variant form known as Australian English, and its most important literary production
of the modern period, the novel. The origins of the Australian novel might reasonably
post-industrial moment.
2
The Story of English
3
The novel took the standard triple-decker form in the nineteenth century. As the
history of Clarkes His Natural Life reveals, like other Victorian fictions, the
Australian colonial novel followed this pattern of production and was closely
associated with serial publications that appeared in the broadsheets of the time. The
triple-decker novel was replaced by the single-volume novel in the 1890s. This
became the standard form throughout the twentieth century and into the twenty first.
From early soft covers, through hardbacks, and now, more commonly, the quality
paperback, the basic format of the novel changed remarkably little, even into the
including digital download, along with consistently high literacy standards, help
explain the circumstances that aided the development of the novel, as do patterns of
work and recreation, but not necessarily the preferences demonstrated by writers and
their readers for this particular form of literature. A more detailed history is beyond
the scope of the present chapter but we note the strong correlation between literature
It is clear that Australians shared a strong liking for the novel in common with much
written and read novels in large numbers, and to this day they constitute one of the
largest per capita book-reading publics in the English-speaking world. Despite their
a very literary nation. The creation of any literature, national or otherwise, involves a
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complex set of relations between creativity, the processes of actualisation through
publishing, and the act of conferring meaning through reading. These interdependent
relationships are what ultimately define literature, which cannot truly be said to exist
a individual pursuit, but its cumulative act can and does lead to broader perceptions of
until such time as it is published and it really cannot be considered as literature until
such time as it has been read. The term literature evolved into its modern and
commonly accepted usage from an etymological root that linked both reading and
writing through the condition of literacy, of being able to both read and write.
Literature is therefore not only what is written but its relationship to reading. The
as the most widely practised form of reading, has had the effect of intensifying claims
criticism was a function of this intensification, most notably within English studies, as
As an extended form of prose fiction, the novel invites meditations upon the
complexities of life, character and circumstances through the act of reading. For the
personalised act of reading is set up by equally personal but quite different acts of
writing. Both reading and writing are intimately conceived activities and both are
3
Following Benedict Anderson
5
usually undertaken as highly individualised circumstances. For all their personal and
intimate aspects, reading and writing are deeply cultural and social acts. Readers
share, though not always in common, the imaginative worlds created by the novelist,
and they share with one another what is read but not always in the same way or with
the same emotional or intellectual result. Readings of the same works by different
readers can and do often create profoundly different experiences. Writers and readers
may actively imagine one another but they rarely meet beyond the illusory connection
they make on the page. Each exists in relation to the other but in a state of almost
Writing has been described as an act of gifting stories to readers. That is true to an
extent but especially during the stages of creating and preparing manuscripts before
they are published. Reading and writing are mediated by the processes of publication,
including, importantly, the negotiated role performed by editors. For most authors
editors are not only the first but the closest and most intimate of all readers. Their job
is to work with authors to bring manuscripts into final published form. Once
published an authors text does not generally alter, though modern forms of multi-
authored online stories and novels may ultimately over-ride the model of the
completed work. Editors stand at the mid-point between the act of writing and more
handmaidens to the writing process who facilitate the journey from manuscript to
commercial rates and read books which, once published, are substantially owned by
the publisher. Under the conditions of most standard contracts, publishers generally
control 90 percent or more of the commercial value of each published novel. This
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percentage is shared with booksellers. Ten percent or less of the commercial value of
the novel remains with the author, though the percentage generally increases with
successive editions. Those who buy books may ultimately experience the gift of the
writer but only after they have shelled out money to complete the sale and commit
their leisure time towards reading. Alternatively readers borrow from libraries which
are maintained from the collection of taxes or are passed on books are given copies on
special occasions. Therefore, while gifting certainly occurs, readers more frequently
enter into an implied contract with writers and publishers based on commercial
transaction and their choice to acquire books and allocate time to reading. It is a
Once published, novels exist in standard shape and form. They are compact and can
be easily carried and read across many different locations. E-books were developed
in the late twentieth century but run a long way behind print-based publications. It
remains to be seen what effect generation text will have on printed books. There
were indications in the early twenty-first century that demographic for print-based
publications was aging, while younger readers were accessing text-based material
through a range of electronic means. Even so, book sales have remained strong,
unlike newspapers which began to show signs of struggling. Each copy of a novel is
produced in identical form to all others in the same print run. The same words exist in
exactly the same order on each identical page and across all copies. Editions may
differ one from the other in format but not in content. For all this uniformity, reading
experiences can and do vary greatly between individuals, as they can between
different readings by the same person. Yet, despite the centrality of the novel to
Australian literature and more broadly Australian creative cultures, very little work
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has been done on the genre outside of textual and author studies. This chapter
Embedded within the concept of Australian literature is a deeply held assumption that
the Australian novel is closely associated with the experience of being Australian.
Readers are encouraged to believe and accept that this may be so and, in the process,
rendered authentically. By this process, the making of Australian literature has been a
along with other creative artists and arts, contribute to deeper understandings and
but each has the effect of contributing to the idea of literature can be understood
because of its nation of origin. Literature thus conceived simultaneously critiques and
evaluates, modifies and changes, the idea nation. The adjective Australian thus
attended to literatures gives great force and assumption to the proposition that
imagination and nation can and do co-exist in literature. The very idea of co-
existence, for all its diversity and critical engagements, is powerfully reinscribed by
the production of each new novel and each new act of reading. The triangulated
relationship between writers, publishers and readers thereby invents and continually
Australian novelist and literary stalwart of the first half of the century, Miles Franklin,
died at the age of 75 in 1954. She had been at or near the centre of literary politics for
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close on three decades following her repatriation to Australia after a 21-year absence
between 1906 and 1927. Franklin was once assumed to be very like her young
protagonist Sybilla from My Brilliant Career (1901). She seems never to have lost
any of her precocious sensibility, but by the 1950s Franklin was a venerable literary
personality. She was one of the last remaining connections with the 1890s, and had
known both Henry Lawson and Joseph Furphy at the height of their literary abilities.
Franklin was revered across extensive social networks, among them some of the more
important and influential cultural groupings in the nation. It came as little surprise to
those who had known her personally or through her reputation and commitment to
national literature that Franklin left provision in her will for a bequest towards the
creation of a national literary prize that would carry her name. The Miles Franklin
Award would ultimately become Australias most prestigious and sought-after literary
prize following its inauguration in 1957. Up until this time, the only award of any
national significance was the Australian Literature Societys Gold Medal for
Australian Literature. The concept of literary awards gradually caught on and by the
1980s there were an estimated 50 major awards, including state and premiers prizes,
corporate sponsored awards and a national award for young writers. Internationally,
Patrick White won the Nobel Prize for Literature in 1975, Peter Carey (1988 and
2001) and Thomas Keneally (1982) won the Booker, and Kate Grenville won the
Franklin had established her bequest in the belief that Australian literature to this time
had been all-too-often overlooked and marginalised, even at home, and that it needed
support and promotion. She had a point. Australian novels were largely published
overseas and often difficult to obtain locally. Reprints were virtually unheard of.
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Further, there was no cultural infrastructure of any significance, and in the decades
before the establishment of the Literature Board of the Australia Council in 1973,
very little institutional support that might advance the cause of literature. A few
morsels fell from the table of Literature Boards predecessor, the Commonwealth
Literature Fund, which had been established in 1908 to support destitute writers with
pensions. The CLF was renovated in 1939 but only small improvements were made,
including the provision of a few meagre fellowships and annual lectures on Australian
literature at universities. While private benefactions have not traditionally been a part
A new reference point for creative excellence was established with the Miles Franklin
debates about the standards and canons of national writing. From the inaugural
winner, Patrick White for Voss in 1957, through to Alexis Wright for Carpentaria
half a century later in 2007, the Miles Franklin Award mapped changing literary
styles and shifts in literary politics. It was also the source of intense debates over
controversy in the mid-1990s. The award was originally designed to honour both
The creation of the Miles Franklin Award helped to usher in a new period of critical
publics. While there is no direct or causal relationship between the creation of the
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award and the establishment of the first chair of Australian literature at the University
of Sydney a few years later, both contributed to a new set of aesthetic and critical
practices that aided and assisted in establishing a higher status for Australian
literature. With time, these reading practices became more influential and spread to a
broader public debate over literature and its value. The Award and the opening up of
Small magazines played their part, but literary analysis and reviewing were also
commonplace across other media, from the newspapers to radio and television.
By the 1970s and 1980s, Australian literature was well established as part of the
cultural mindset of the nation. It was being read at schools and universities and it
featured strongly at arts and literary festivals, with attendant spin-offs for book-clubs
from the 1990s. For more than a decade in the 1980s, along with Australian cinema,
music and the visual arts, Australian novels were considered to be flavour of the
month, which was a common phrase and euphemism that applauded international
success, especially in the US. Franklin had lived for extended periods in the US and
upon her return to Australia became a keen supporter of Australian curricula featuring
Australian literature. She would have been delighted by the Literature Boards
of Western Australia.
The creation of the Miles Franklin Award was an indication of a shift in literary
consciousness and reading practices, which may have been only barely apparent
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around the middle of the twentieth century but which would gather momentum from
the 1960s. Nationalist authors who born towards the end of the nineteenth century
were by the mid twentieth century fewer on the ground and far less relevant than they
had been during the interwar period, while their influences, legacies and successions
were far from clear. Franklin herself is probably better known today on account of
the award that bears her name than the novels she wrote, including My Brilliant
Career which was made into a highly successful, internationally released, film in
1976. Among Franklin Award winners, only Vance Palmer (b1889) in 1959 belonged
to the older style nationalists that included Franklin. Xavier Herbert (b 1901) in 1975
and George Johnston (b 1912) in 1964 were associated with the nationalist project but
were very much younger than Palmer and his generational cohort. Indicative of new
writing and writers, Thea Astley (b 1925) was a multiple winner in 1962, 1965, 1972
and 2000, David Ireland won (b 1927) in 1971, 1976 and 1979, while White (b 1912)
Cultural traditions are never straightforward or easily explained, and they contain vast
discrepancy between what is and what is claimed to be. Close readings and textual
analyses help explain the apparent continuities as well as the contradictions. As the
novels of Henry Handel Richardson, Christina Stead and Eleanor Dark may have
complicated the nationalist project of the 20s and 30s, so White, Astley and Ireland,
based on the commonly accepted literary principles of the earlier time. The presence
of Whites novels, in particular, disrupted a great deal of what had once been accepted
as Australian literature. But he was simply too big a name and too important to
overlook. And so he was incorporated and assessed alongside even those with whom
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he felt he had little in common and very likely despised. White was a prodigious
talent and an expert hater, and he antagonised the debate over literary value with
Importantly and inevitably generational changes usher in new dimensions and are a
most powerful force of cultural renewal. Older style nationalists were not only
literally getting old and beginning to fade by the 1950s, their novels seemed to be
readership and its preoccupations. In 1958, a 23-year old Randolph Stow followed up
Whites success the year earlier and won the Miles Franklin Award for To the Islands.
Stow generated a good deal of excitement about the future possibilities of Australian
literature. He had all the hallmarks of Australias first celebrity author. He was
young, good-looking, awkward in company, rather too fond of the bottle, university-
Australias new reading publics took to his writing in a big way and by the 1960s his
Merry-go-round in the Sea was enormously popular among adults and young adult
readers alike. Palmer died in 1959 and was named as that years winner of the Miles
Franklin Award, one suspects out of respect for his service to literature more than his
achievement with The Big Fellow. The contrast with Stow and White were stark.
Somehow, Palmer did not readily fit the sequence of winners. Literary awards, like
traditions, contain elements of unpredictability. Rodney Hall was born in the same
year as Stow but waited more than two decades longer to win his first Miles Franklin
for Just Relations in 1982, which he followed up with a second in 1994 with The
Grisly Wife. By that time, Stow had left Australia and had all but given up writing to
live reclusively in the south of England. Not quite a baby-boomer, Carey won the
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Miles Franklin with Bliss in 1981 and again with Jack Maggs in 1998. Carey became
internationally renowned and, like another Franklin Award winner, Keneally, was part
publishing contracts in different copyright regions in the world. The first writer born
after the Second World War to win the Miles Franklin was Tim Winton 1984 for
Shallows, in 1992 for Cloudstreet, and Dirt Music in 2002. Another young writer to
win the award, Helen Demidenko, The Hand that Signed the Paper (1995), was the
latest born winner to 2007 (1971) and arguably the awards most controversial
recipient. In all, 86 years separated the first-born winner and the last, Demidenko,
for whom an Australian literary past that included Palmer would have been much
The Miles Franklin Award does not constitute a tradition of Australian writing or
even a set of canonical texts, but its importance in mapping the literature from mid-
ways of reading Australian literature that would become increasingly apparent and
discussions. At times, these spilled over into broader cultural debates, but
overwhelmingly they have focussed on questions of literary merit and the assessment
of works according to the principles of literary and textual criticism. Importantly, the
awarding of the Franklin each year confirmed the novel as Australias most important
literary form.
Inventing Traditions
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With an even more famous and luxurious rush of blonde hair than Demidenko,
Prichard, who had been the iconic Australian novelist of the earlier generation. In an
obituary published in what was to this time was the standard bearer of the old left,
the journal Overland, Hewett spoke dismissively of Prichards funeral cortege led by
Russian-style communism which was becoming less appealing to the new left,
following the Paris Spring and Soviet invasion of Czechoslovakia of 1968 and
growing disenchantment with the prosecution of the Vietnam war that led to the
largest street demonstrations in Australian history. The May 1969 moratorium march
attracted an estimated 500,000 Melburnians onto the streets in protest against the war.
For the younger generation of writers, the literature was also changing because of a
relaxation in censorship laws. Prichard and Hewett shared a literary interest in the
exploration of sexuality but the cultural and intellectual circumstances of the 1960s
were far freer to the 1920s and 1930s when Prichard was making her mark.
In 1954, Palmer published his most successful book, The Legend of the Nineties.
Unlike his earlier works, this was not a novel but a cultural analysis which identified
tradition established in the 1890s by Lawson, Furphy and what, increasingly, became
known as the Bulletin school of writers. Four years later, as a young Mick Stow
was collecting his Miles Franklin Award, Russel Ward published The Australian
Legend which developed Palmers theme further. The Australian Legend went deeper
into an imagined past and dated Australias democratic ethos back to the convicts. In
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1958, Arthur Phillips also published his influential The Australian Tradition which
not only reprinted his most famous essay The Cultural Cringe, first published in
1950, but studies of Lawson and Furphy. Palmer, Phillips and Ward were each
increasingly dated for new generations of Australian readers. These earlier literary
positions were especially challenged in the 1960s and 1970s from two opposing
views. The new left included younger highly educated intellectuals informed by a
strong sense of human rights and cultural pluralism which emphasised manifold forms
from more traditional forms of left-inspired cultural politics. Their key disposition
extolled the authority of the intellectual rather than the revolutionary potential of the
working classes whom they still championed. The new left actively challenged and
frequently ridiculed the old left paradigm of class and oppression by pointing to
violence and the oppression of women. The old left was also opposed by
conservatives who from time to time gathered around the phrase counter-
revolutionaries. Among the first to use this phrase publicly was Peter Coleman, who
Obscenity, Blasphemy and Sedition (1971). Less cohesive than the new left,
pronouncements and included the likes of Donald Horne, The Lucky Country (1964),
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Robin Boyd, The Australian Ugliness (1960) and Ronald Conway The Great
Australian Stupor (1971) which shifted the cultural emphasis away from the bush as
the citadel of Australian democracy to the acquisitive suburbs. Many wrote for the
Ken Gelder and Paul Salzman (1989) argued a new diversity was apparent in
Australian literature from the 1970s. It was influenced by the politics of the time but
and Asian regions, and relaxation of censorship laws. They also identified a new
writing. Like traditions, periods are notoriously difficult to demark and may be in
actuality little more than inventions of the historical imagination and convenience.
This much the bibliographer and critic H.M. Green understood in his monumental
History of Australian Literature (1961). Green divided Australian literary history into
four periods, with the fourth ranging from 1923 to 1950. The year 1923 or
thereabouts has been assumed here to mark the turning of the tide, Green argued, not
the full tide by any means, for there was yet the Depression to follow, and further
disillusions, and second World War, but a turning point. Green went on: And if
there is comparative vagueness about the beginning of this final Period there is still
more about its ending: we seem to be somewhere near it now, but that is almost all
that can be at present said (932). It might reasonably be assumed that Greens
reference to an ending was to the time of his writing (c1960) rather than the
bookend to his period, 1950. This can be discerned from Dorothy Green who edited
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the second edition of the two volume History: . . . the publisher decided to abandon
the plan to bring Volume II up to date to 1973, and to publish it with its original
closing date of 1950, thus eliminating the final chapter. It was decided to remove the
new material to a third volume, with a closing date of 1980, which would be the sole
responsibility of the present writer [Dorothy Green] (vii). It seems therefore that
closing dates, like beginning dates, can be arbitrary, in this particular instance, there
are at least four possibilities: 1950, 1960, 1973 and 1980, all more or less
conveniences.
and point of transition from which an assessment of the literature can be made. From
its vantage point looking back was a recent past of two catastrophic wars and the
Great Depression of the 1930s. Indisputably, these mass experiences helped shape
generational memories that would later inform what in the 1960s became known as
the generation gap. Looking forward from 1950, the world might have seemed every
bit as insecure as it had ever been though for many it was also far more dangerous.
Nations were divided into two ideological blocs of capitalism and communism, with
all the grotesque possibilities of mass destruction through nuclear weapons. Under
the absurd realities of the cold war and what became known as mutually assured
destruction (MAD), after the Soviets acquired the bomb in 1949, Australians
prosperity, consumerism and stable conservative rule between 1949 and 1972. From
the 1970s, the non-aligned and third world came into focus for many as an expression
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of counter-culture. South East Asia, but especially India, were influential with a
For all the evident literary diversity of the period from the 1970s onward, there were
also remarkable continuities that connected to past to the present. In 1986, the general
manager of the University of Queensland Press, at that time, one of the more
country, to a culture, when one its most enduring influences, that of its native
literature, is in the hands of another culture?, Laurie Muller asked. To many, such a
question may have seemed curious and perhaps out of joint with its time. Australias
literary prospects were in reasonably good shape, while the broader cultural mood
was buoyant, imbued as it was by the twin successes of international acceptance and,
locally, new nationalisms that had grown up around flourishing creative industries
such as film, television, theatre, art, dance and music. There were box office
successes at the cinema; seemingly endless runs of television soaps, dramas and
and dance; and any number of headline musical acts from Peter Sculthorpe to INXS.
assert, what happens when the nations literature is shaped, influenced, and edited in
another place? Should we be put in the ignominious position of having to import our
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own culture. No would have been an obvious answer, if any had really been
sought. It seems more likely that Muller was fishing for a reaction rather than a
The hard-won successes of local writing, he maintained, had become an issue for
away name authors with significant financial inducements that could not be met
locally and which, in most instances, could not be covered by sales. UQP would be
hit hard by such raids. Among Mullers intended audience were writers, literary
scholars as new custodians and readers, other publishers and literary agencies that, he
hoped, align into a broad coalition of interests to keep published Australian work
within Australia. All sectors of the industry realised that there were larger
commercial dominance to buy high profile Australian authors and thereby increase
credibility locally which was a threat to local publishers. Industry talk began to
centre on celebrity authors and the stacking of lists against what were argued to be the
better interest of Australian literature. At stake commercially was one of the most
globally. These would prove to be among the more significant changes to affect
English-language publishing since the signing of the Berne agreement in the late
nineteenth century:
Throughout much of the twentieth century, the English-language book trade remained
almost obstinately separated into two very distinct blocs. United States manufacturers
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and traders were left to their huge domestic market which approached 300 million by
the early twenty first century. The Americans also traded into Mexico and Latin
America, but manifest destiny stopped in the north at the forty-ninth parallel until
Canadian market to US publishers, but Australia remained firmly within the British
much of Europe until the end of the second world war, and all colonial and former
interests in the international trade while fixed prices in the domestic British market
established and enforced prices in the Australian market. (Nile 2002 p 37) Australian
publishers could do very little to compete apart from looking to fill gaps in the
market. New publishers came and went but some made significant contributions.
Sun Books in the 1960s and McPhee-Gribble in the 1980s are representative examples
based companies.
Muller was an adept cultural politician who for many years had been the president of
the Book Publishers Association and he knew well his constituency. His plea took
on the character of a call to arms around local publishing as an a priori condition for a
healthy and viable national literature. Arguments in favour of local publishing had
been part of the cultural mix in Australia for the better part of a century. That they
took this particular shape in the 1980s reflected new insecurities surrounding the
nexus between writing and publishing, but the real fight was over Australian readers.
Muller was not simply establishing a rationale and agenda for a larger debate
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in international publishing and cautioning writers against switching camps. Many
While poetry, drama and short fiction might have been imputed by the term
Australian literature, the publishers interests were almost exclusively the novel. And
it was the literary novel, rather than the novel in general, that was most highly prized.
Popular forms of literature could generate lucrative returns but most titles perished
after only a short time, and needed to be constantly renewed. Standard formulas
assisted the quick turn around required by writers to produce several titles a year.
There was the phenomenal success of Carter Brown, for example, in genre of pulp
fiction from the 1950s to the 1970s, while romance novels and historical romances are
still routinely churned out at a very large volume per author. By contrast, literary
fictions take longer to write and establish a much longer shelf-life, notwithstanding
the Australian propensity not to reprint works. By the early twenty-first century,
literary fiction was carrying significant commercial cachet even if print runs were
smaller than more popular forms of writing, precisely because they survive better and
for longer periods within readerly consciousness. In making claims for the front lists
of the 1980s, Muller was also arguing for the preservation of Australian back lists
Australias literary fictions which had been significantly defined by new classes of
cultural nationalism. His language owed something to the mood of 1970s and to the
logic sitting in behind the much vaunted cultural optimism of the Whitlam
government (1972-1975) that had led to, among other things, the establishment of the
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Literature Board in 1973. Before Whitlam, the Gorton government (1968-1971) had
supported a nascent Australian film industry and oversaw the ending of censorship
established the Special Broadcasting Service and multicultural radio, while continuing
many of the cultural reforms dating back to Gorton. Government interventions into
and support for the arts significantly reshaped the Australias creative constituencies
and their expectations of arts practice from the 1970s. In 1986, Muller was alerting
this very constituency, made up of readers and writers, to its new challenges which
included, among other things, the deregulation of the Australian economy. The
metaphor and the reality of opening up the Australian market to international trade
and finances would significantly effect all arts areas and challenge established
Australia was the single largest importer of books from the UK. The Americans had
long been interested in the Australian market and in the mid 1970s established a legal
justification for competing for market share. New readers and cultural elites, as they
were becoming increasingly known, were concerned about the negative influences on
literary scholars, publishers and cultural bureaucrats formed around the arguments in
favour of Australian literature. This coalition would ultimately argue the case to
continue British interests in Australia. Its arguments would prevail and maintain their
hold over the Australian book trade following a 1989 inquiry recommended
deregulation of the book trade. They were back to the barricades in 2008 when the
issue of parallel imports was again raised within the context of a free trade agreement
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In the 1980s, new generations and publishers, including Hilary McPhee and Diana
literary paperback. The success of McPhee Gribble over almost two decades came to
an end in 1989 when the company was overtaken by a multinational publisher. With
the sale of the local publisher one of the most prestigious and important literary lists
of the late twentieth century passed out of Australian hands. It was a familiar story.
According to Muller:
. . . some of the most culturally influential names are no longer edited and
published in this country. It is cultural imperialism. Is our literature being
looted, is this the modern face of transnational publishing, or is it good old
British Empire style hard-nosed business opportunism . . . our writers, having
finally achieved hard won international appreciation, are being enticed to
publish out of London for access to the UK/European market.
publishing and literary production which, more precisely in the language of the times,
was expressed as an argument about cultural makers over cultural takers. Australians
were great cultural consumers, they were gifted cultural producers but there had
always been, to steal a term from a slightly later time, a perception of a disconnect
between the two. It was not only the role of writers, editors and publishers to produce
novels of fine quality, they had to ensure the novels place within the patterns of
Australian cultural consumption. Their ongoing struggle stirred disquiet about British
24
According to Phillips classic 1950 essay, the Australian cultural cringe existed in two
main varieties: the cringe direct and the cringe inverted. Australian readers often
acquiescence to metropolitan cultures but specifically all things British. The cringe
was associated with a colonial mind-set against which nationalists railed. Inside the
collective insecurity of Australian creative and reading cultures resided the voice of
disparagement which placed an inferior label on the cultural and creative capacities of
Australians. By contrast, the cringe inverse was that of the opinionated Australian
bore who proclaimed all things Australian to be superior. It was the attitude of the
What might now be reasonably thought about as a counter cultural cringe movement
of the 1980s celebrated the achievements of Australian culture while arguing against
the constraints placed on creativity because of lack of cultural infrastructure and the
White to make their marks nationally and internationally. Among them were poets
and playwrights, but overwhelmingly they were novelists and included Kate
Grenville, David Malouf, and Winton. Fundamental changes in the structure of the
Australian economy through financial deregulation, beginning with the election of the
Hawke government in 1983, also threw up new challenges. Up until this time,
Australian industries had been protected by a series of tariff walls. The tariff wall was
arguments in favour of Australian literature were held within a logic that attested to
25
national health through the safeguarding of local creativity against foreign influences.
The reduction in protection (which began under Whitlam) transformed into a new
mantra about open markets under Hawke and Keating. Keating was also closely
identified with the new readers as cultural elites and supported a stronger commitment
fellowships became known as the Keatings. With the election of the Howard
elites.
It was also typical of Australia that cultural capital might be measured in monetary
terms. For close to a century, British interests in Australia had been protected by
Legat, formerly editorial director of Corgi Books and later Cassell and Company, both
for authors writing in English. His An Authors Guide to Publishing (1991) was
commended by the British Society of Authors as invaluable reading for all authors . .
the more helpful tips was Legats description of Territory and Rights:
Even those whose knowledge of geography is minimal are aware that the
world is divided into the continents . . . The author writing in English has
needed to learn a different kind of geography, which is concerned with the
division of territories by various English-language publishers . . . Until quite
recently, there were likely to be two principal publishers onlythe British and
American housesand the world was divided into three: the exclusive British
market, the exclusive American (i.e. United States) market, and the rest of the
world, termed the Open market.
26
Through a series of trading conventions and laws, Australia continued to operate as an
Australian book industry. The PSA recommended a more open market which would
allow other English-language publishers to compete for Australian book buyers and
readers. Under this threat, some Australian publishers, writers and readers argued for
the status quo which meant the continuation of British cultural domination. Within a
few short years, cultural nationalists like Muller, Keneally and Carey shifted from
accepting the territories and rights described by Legat. Those conditions obtained to
Australian book production into the twent- first century but under constant threat of
revision.
The emergence of the AustLit database since the 1990s represents a growing
structure of authority (Bourdieu 19) in the field of Australian creative and critical
writing that has, over time, drawn to itself the cultural and institutional power to shape
and set definitions (and to influence the direction of bibliographic definition systems)
for classifying Australian works. The graphs that follow assess the distribution of
manifestations) and represent the (pre-clean) state of the AustLit database at May
27
2008. Though there is risk attached to examining publishing trajectories within a
database still incomplete, the trends established are consistent with other attempts to
map the literature. Figure 1 charts the distribution of first-edition novels (mainly
between Australia and Britain). This graph supports the traditional findings of book
history: Britain (represented by the blue line) dominated until 1941, when the
circumstances of the second world war allowed for a more sustainable Australian
industry (the green line), to the point that Britain never recaptured its once dominant
(blue), 1900-2000. Australian total includes Cleveland Publishing Co and Horwitz (pulp fiction
In Figure 2 the light green line graph represents all Australian publishers, including
period, Cleveland and Horwitz. The dark green line graph represents all Australian
28
publishers minus them . It is clear that Cleveland and Horwitz produced the greatest
number of titles between 1954 and 1971 (respectively 1460 and 815 novels each),
establishing the companies as undeniably the most prolific Australian publishers for
the period.
PUBLISHERS (dark green) VS PULP FICTION PUBLISHERS (light green) from 1953-1972
(within 1900-2000 statistics). Number of first edition novels produced against year published.
It is also clear that the sharp peaks of pulp fiction production continue in an opposite
direction to the rest of the Australian publishing industry for this period, which
appears to be in significant decline towards pre-1940s levels from 1956 until at least
match Cleveland and Horwitz in the early 1970s, and then overtakes the totals in
1972, when Cleveland and Horwitz sharply drop in production and produce fiction at
greatly reduced levels for the next twenty years. In Figure 3, where only mainstream
29
Australian publishers (not including Cleveland and Horwitz) are mapped, British
publishers rival Australian novel production between 1956 and 1967 and is not too
became more significant than both British publishers and Australias two largest pulp
fiction publishers to create a surge in novel production in 1987, with a lasting peak
matching that of Cleveland and Horwitzs record year in 1960. This period aligns with
Figure 3: Subtracting Cleveland Publishing Company and Horwitz (pulp fiction publishers).
The post-Second World War production trends cast a different light on the usual
edition Australian novels. While modern book histories generally agree that British
30
publishers dominated the Australian publishing industry until the 1940s, the degree to
which British publishers return to dominance again for over a decade (19561967) is
noteworthy. The failure of the majority of Australian publishers in the face of the
British influences across most of the twentieth century is striking. Literary historians
have until recently largely ignored or marginalised Australian pulp fiction because of
its association with market forces and low genres. Although it has been suspected
that pulp fiction publishers took advantage of the Australian government establishing
tariffs on American imports that effectively banned American pulps from 1939
1959 (Johnson-Woods 74) the degree to which pulp publishers were able derive a
major rival to the literary novel during this period, a more accurate view can be
31
Reprints and translations offer an alternative and informative view of the crafting or
favouring of literary taste locally and internationally. Reprints are keyed in with
production cycles, the length of time in which profits are secured during the previous
or initial print run, and the general feeling publishers have for their markets (Figure
4). The relationship a publisher has to perceived audiences and the economic or
political interest (Bourdieu 46) in success and profit influences printings of a work or
translation from another imprint. Reprints are thus a commercial indicator of demand.
novels, an oblique picture may be built up of modern literary tastes and demands
most.
32
12. West, Morris 1965 1965 - 1999 The Ambassador 34
Figure 5: TOP REPRINTED WORKS, Published outside AUSTRALIA, 1890-2005. Up to Rank 15.
The top reprints or translations for 1890-2005, as shown in Figure 5, are: The Devils
Advocate (West 1959), On the Beach (Shute 1957), A Town Like Alice (Shute 1950),
The Shoes of the Fisherman (West 1963), The Thorn Birds (McCullough 1977), The
Salamander (West 1973), Voss (White 1957), Pied Piper (Shute 1942), The Far
Country (Shute 1952), Schindlers Ark (Keneally 1982), Summer of the Red Wolf
(West 1971), The Tower of Babel (West 1968), The Ambassador (West 1965),
Harlequin (West 1974) and Proteus (West 1979). Indeed, from ranks one to twenty,
works by Australian authors Morris West and Nevil Shute generally dominate as the
however, pulp fiction giant Carter Brown not surprisingly has bestsellers in nearly all
subsequent ranks: titles like The Wanton sit alongside Whites A Fringe of Leaves;
The Tigress ranks ahead of Herberts Capricornia and Boldrewoods Robbery Under
Arms; and Browns The Vixen, The Stripper and A Corpse for Christmas share shelf
33
space with translations of Maloufs An Imaginary Life. Much further down, Browns
W.H.O.R.E eclipses My Brilliant Career at no 36 through the luxury of just one more
translation.
Because of the punishing workloads of many pulp fiction writers and the association
of pulp novels with the lowest socio-economic markets, it is easy to see why Carter
Herbert, Prichard, and Franklin by ten times or more reprints in Australia, as Figure 6
more, closely followed by Morris West and Nevil Shute (Figure 7).
34
Figure 7: TOP REPRINTED AUTHORS, International, 1890-2005.
Quality notwithstanding, the high reprint runs for Carter Brown suggest that
international tastes from the fifties to the seventies were different to what publishers
in Australia considered worthy of being reprinted. Between 1950 and 1979, Browns
The Corpse, The Unorthodox Corpse, Sex Trap and A Good Year for Dwarfs? were
weighted with more attention by some international publishers than Power Without
Glory, The Roaring Nineties, Capricornia and The Four-Legged Lottery. Certainly,
more literary Australian novels like these last four fought for attention within an
international market that also supported, rather competitively, titles like The Ice-Cold
Figure 8 provides a more recent look at the international reprint list for 19902005. A
heavy decline in pulp literature can be seen after twin peaks in 1960 and 1965. This
more literary texts and away from works in pulp and popular genres. Schindlers
35
Ark, The Devils Advocate and The Thorn Birds remain in the line-up over the past
fifteen years, but new entries include Eucalyptus (Bail 1998), Lazarus (West 1990),
The First Man in Rome (McCullough 1990), The Lovers (West 1992), The Grass
Crown (McCullough 1991), Eminence (West 1998), Goulds Book of Fish (Flanagan
2001), Remembering Babylon (Malouf 1993), The Riders (Winton 1994), The
Conversations at Curlow Creek (Malouf 1996), Dirt Music (Winton 2001) and Oscar
and Lucinda (Carey 1988). Carter Brown does not appear anywhere in the top one
hundred works.
36
Malouf, David 1996 1998 - 2001 The Conversations at Curlow 13
Creek
Pascoe, Judy 2002 2002 - 2004 Our Father Who Art in the 12
Tree
Figure 8: TOP REPRINTED WORKS, Published outside AUSTRALIA, 1990-2005. Up to Rank 10.
Though these statistics can only be a superficial and partial identification of ...
empirically verifiable regularities (Bourdieu 12), data like this can constitute a novel
way in which claims about cultural dominance [and market forces] might be explored
37
and debated (Bennett 203). Such statistics pose questions for how Australias literary
The data on reprints supports the contention that new reading publics are discernible
in Australia from the 1950s. These publics helped shape and give value to the
meanings ascribed to the Australian literature. We have contended in this chapter that
literature emerged out of a compact between writers and readers. That relationship is
popular forms of writing, their reading practices created significant spaces for the
creation and evaluation of the literary novel which came to the fore in the second half
of the twentieth century. The century manifestly belonged to the novel and the
literary novel shows every indication of remaining the flagship of Australian literature
38
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