Cirrus@Austlit

'This essay examines the role of Gwen Harwood’s Eisenbart poems in helping to establish her career as a serious poet. It argues that Harwood had more trouble breaking into the male-dominated world of Australian poetry than is generally acknowledged, and that the Eisenbart poems, which centre on a fictional scientist, represent a turning point in her literary fortunes. In the 1950s, Harwood struggled to get the kind of attention she sought from a number of influential poetry editors and reviewers, many of whom were also academics. Chief among them for her were A. D. Hope, Vincent Buckley and James McAuley. Her Eisenbart poems, which both play up to and satirise the cultural icon of the god-professor, were an attempt to subvert expectations of so-called ‘lady poets’ and beat the ‘professors’ at their own game. They also gave literary expression to the debate between positivism and humanism that dominated some aspects of academic life in the 1950s, and to the anger and frustration Harwood experienced at repeated rejections of her work.'

Source: Abstract.

'The psychology of guilt as debt is a recurrent theme in Tim Winton’s fiction. A number of scholars have recently examined the theme of haunting in Winton’s Cloudstreet (1991), arguing that the ghosts which appear in the story represent an engagement with Australia’s colonial past, in particular the mistreatment of its Indigenous peoples. The latest of these, Michael R. Griffiths, highlights the shortcomings of Winton’s treatment of this theme, contending that Winton’s text might be read as a kind of excuse, in the name of naïveté, for colonial abuses. Given that Nicholas Birns (among others) has noted a new maturity in Winton’s work from The Turning (2004) onward, a fresh examination of such themes in Winton’s work is warranted. This essay does so through a reading of the short story ‘Aquifer’. Examining the story’s treatment of the psychology of guilt and debt, the essay explores how Winton tries to resolve the moral and historical problems he raises in regard to Australian culture through the ethical figure of the neighbour, drawn in particular from the biblical parable of the Good Samaritan. By showing the centrality of the neighbour to Winton’s work through references to In the Winter Dark (1988), Cloudstreet, Breath (2009), ‘Aquifer,’ and a newspaper editorial by Winton on the humanitarian treatment of refugees, this paper seeks to provide a new critical window through which to understand his evolving ethical ideas about Australia’s past and future.'

Source: Abstract.