Australian Literary Studies

The more I think about it the more I am convinced that Ken Goodwin must have found this a brute of a book to write. Not that difficulties are apparent in the writing. Far from it. It is simply that, in looking at it from a reviewer’s point of view, I am increasingly aware of the constraints under that the author must have suffered while managing to produce a book which the general reader and the interested undergraduate will find both interesting and useful.

It is surely one of the most widely believed tenets of Australia’s literary history that the short story has a special significance achieved with its rise to popularity in the 1890s under the patronage of the Bulletin and in the hands of a master craftsman like Henry Lawson. Orthodoxy has it that Australian literature was born in the 1890s: that is, it shucked off its colonial cast and developed a distinctly national stance with the emergence of what some call the tradition of formal bush realism and others the Lawson/Furphy tradition. So far as I know, no one has quibbled with the view put forward by Harry Heseltine in his introduction to the Penguin Book of Australian Short Stories (1976) that Henry Lawson was the ‘chronological founder of the tradition of the Australian short story’ and ‘the source of most that is imaginatively important in it.’

I have a theory that every second Australian is a closet short story writer. And this is a conservative estimate. According to my theory, the so-called ‘booms’ in the history of the Australian short story in the 1890s and 1950s merely reflected fashions in the book and magazine publishing businesses, not the relentless scratching away in exercise books or thumping of battered typewriters which occupies the waking hours of the determined taleteller and which is, I am convinced, a more popular national pastime than dodging income tax. How else to explain the sheer volume of short stories being published? And these are but the tip of the iceberg – a mere fraction of those that have been and are being written.

How, not being an anthropologist, do you set about reviewing tales and fragments of experience from Aboriginals of the Kimberleys? You might begin by stating your difficulties.

People like me can usually establish some kind of empathetic link with the arts and traditions of many cultures. If we cannot feel our way into them, at least we can derive intellectual pleasure from contemplating them: as a rule there is some point of contact, although to us, of the western heritage, nothing can ever be as real as what belongs to the family of Hellenism. I can ‘make something’ of Hindu sculpture, Inca masks, Negro jazz; perhaps even of shamanic spells.