Cirrus@Austlit

'The English-born traveller and writer Francis Adams, who was in Australia from 1884 to 1890, was a cultural activist and a conduit in both directions for the late-Victorian migration of ideas. His book The Australians (1893) was an important source for the ‘Legend of the Nineties’, but there was a good deal more than the celebration of the Bush in his Australian writing. He was a keen critic of Britain’s management of its empire, and a sensitive observer and analyst of social and cultural life in the colonies. Stephen Murray-Smith described Adams’ impact on his contemporaries as that of an ‘active intellectual […] who brought something of “modernity,” of sophisticated European modes, to the discussion of Australian problems’ (14). He expressed progressive views on sex, marriage, and the rights of women; Marxist theories on class war, property and power; a huge amount of sympathy for the working class (whose poverty he sometimes shared, but to which he did not belong); and ‘advanced’ notions about art, literature and science. His respect for science came in part from his father, Andrew Leith-Adams, an army surgeon and natural historian who corresponded with and greatly admired Charles Darwin.

'The focus of this essay is on how Adams’ first two novels can be read in relation to late nineteenth-century categories of literary and popular fiction, via two terms ubiquitous in reviews and publishing of the day: ‘realistic’ and ‘sensational’. The phrase may seem tautological to twentieth- or twenty-first century readers, whose ideas about realism may align it with representation of the everyday. However this was not the case in the late nineteenth century: British newspaper reviews and advertising feature the phrase frequently in relation to novels, plays, and other forms of entertainment, the emphasis being on spectacle as well as verisimilitude. Such generic flexibility as Adams demonstrates in his fictional output between 1886 and 1889 calls for a nuanced understanding of literary culture in Australia in the 1880s. This is particularly true with regard to definitions of ‘realism’, but it applies also to ideological and gender-based assumptions about popular genres such as ‘sensation’ and ‘romance’. Adams’ 1888 essay on ‘Realism’, and contemporary debates about realism within which it was published, remind us that colonial press and literary establishments were both responsive and hostile to ideas and trends from the northern hemisphere – not simply British, French, and American, but filtered versions, such as British accounts of French naturalism.'

Source: Abstract.

'This paper examines the careers of two Australian writers who left Sydney for London at the end of the nineteenth century to explore questions of cultural, as well as literary, identity and affiliation.

'Louise Mack, as a poet, novelist, writer of romances, journalist and war correspondent, combined a fluid sense of national identity with a flexibility in writing across genres and readerships that makes her hard to categorise. Arthur Maquarie’s career as an Australian poet aspiring to fit into an essentially ‘English’ cultural niche provides a model of Anglo-Australianness that appears to fit a conservative model, called somewhat imprecisely from an Australian perspective, expatration - but which nonetheless retains layers of identity and experience which made complete assimilation virtually impossible.

'At a time when there was no clear or inevitable choice between being British or Australian, it is apparent that these writers never fully renounced (indeed, could not completely lose) either their British heritage or their colonial identity, whether working in commercial or literary milieux. Living and working in London, they were not simply expatriates or exiles, but carriers of complex and often shifting roles and identities that insisted on hybridity. Despite this theoretical hybridity being inevitable to some extent, it is still possible to distinguish between them. The colonial transnational writer’s position is differently inflected from the expatriate’s, as it entails the carrying of several layers of identity without an ideologically driven impulse to assert, renounce or choose between them.

By comparison with Maquarie, Louise Mack appears to be far less troubled by notions of cultural identity, whether political or more broadly literary. Her greater mobility between genres, and her lack of any fixed status or position in social or institutional settings of the kind that Maquarie adhered to, correspond to a greater flexibility in her cultural affiliations, and produced a more fluid form of ‘colonial transnational’ identity.'

Source: Abstract.