Nicole Moore

Was Katharine Susannah Prichard one of those present at the first meetings of the Communist Party of Australia (CPA), or not? Did she or didn’t she later pass intelligence to the Soviets, as charged by historians of ASIO Desmond Ball and David Horner? What difference would it have made to have had Lesbia Harford’s full queer oeuvre before the Australian public when it was written? Why didn’t Dymphna Cusack join the CPA if, as this book asserts, her politics were just as far left as Frank Hardy’s? How aware was Eleanor Dark of First Nations activism when writing The Timeless Land (1941)? Politics sit at the heart of Australian literary history, but a raft of questions remain for contemporary readers.

Even at the age of eighty-four it appears that our censors of old possessed a moral clarity that no longer exists. Censorship was carried out by the state as a force of moral purpose, protecting the population from the consequences of reading banned literature: to wit, moral decline and subversion, particularly among the powerless. This was pertinent to children whose innocence entailed a lack of knowledge of moral turpitude and who were seen as particularly vulnerable.