'Up until the late 1960s the story of Australian literary magazines was one of continuing struggle against the odds, and of the efforts of individuals, such as Clem Christesen, Stephen Murray-Smith, and Max Harris. During that time, the magazines played the role of 'enfant terrible', creating a space where unpopular opinions and writers were allowed a voice. The magazines have very often been ahead of their time and some of the agendas they have pursued have become 'central' to representations, where once they were marginal. Broadly, 'little' magazines have often been more influential than their small circulations would first indicate, and the author's argument is that they have played a valuable role in the promotion of Australian literature.' (Publication summary)
'Phillip Edmonds’ short story, ‘The Soapbox’, published in the Griffith Review in 2008, is about an Australian named Warwick who moves to London and works at the Ministry of the Arts, where he takes ‘responsibility’ for the public forums at Speakers Corner — a task necessary because ‘the number of voluntary speakers at Hyde Park’ has ‘been dwindling, perhaps due to people getting older and the internet’. Warwick tries different strategies, but nothing draws audiences beyond groups of confused tourists. The ministry seems pleased with his efforts (‘the important thing’, he is told is ‘that things be seen to be done as much as being done’), but Warwick resigns in frustration and decides to return to Australia, though not before erecting a homemade soapbox in Hyde Park as a symbolic protest. The story ends with the narrator telling us that Warwick ‘stopped stressing about whether anyone was listening and gave up on being ashamed of daring to dream’.' (Introduction)
'Phillip Edmonds’ short story, ‘The Soapbox’, published in the Griffith Review in 2008, is about an Australian named Warwick who moves to London and works at the Ministry of the Arts, where he takes ‘responsibility’ for the public forums at Speakers Corner — a task necessary because ‘the number of voluntary speakers at Hyde Park’ has ‘been dwindling, perhaps due to people getting older and the internet’. Warwick tries different strategies, but nothing draws audiences beyond groups of confused tourists. The ministry seems pleased with his efforts (‘the important thing’, he is told is ‘that things be seen to be done as much as being done’), but Warwick resigns in frustration and decides to return to Australia, though not before erecting a homemade soapbox in Hyde Park as a symbolic protest. The story ends with the narrator telling us that Warwick ‘stopped stressing about whether anyone was listening and gave up on being ashamed of daring to dream’.' (Introduction)
