Cirrus@Austlit

'I envy artists who excrete a style as a tree gives out gum resin, as something natural to them...For me, the style is existential, expressive and problematic...I am not a canonical person, and find orthodox formularies hard to remember, let alone 'believe in'.

For forty years, Vincent Buckley (1925-1988) was a central figure in Melbourne's literary, political and religious life. A major poet, he was also a leading literary critic, a regular book reviewer and a formidable controversialist. Themes in his work include the nature of God, religious and political responsibility and the place of poetry in a modern society. This is the first biography of Vincent Buckley. (Publisher's Blurb)

The Australian Book Review (ABR) was established in 1961 to provide a forum for the review of new Australian books. Editors, Max Harris and Geoffrey Dutton, planned to 'notice' or review every new Australian book, but this desire proved difficult to realise due to a rising number of books and the difficulty of defining what an Australian book was. Nevertheless, ABR employed a range of reviewers to provide general readers with authoritative assessments of important books. These reviewers included Frank Kellaway, Olaf Ruhen, Vale Lindsay, Tom Shapcott, Brian Dibble, Bruce Beaver and Don Watson.

Rosemary Wighton became co-editor in 1962 after acting as associate editor for a short time. She and Harris remained co-editors of ABR until 1973 when the magazine ceased operation after finding it increasingly difficult to meet production costs. An attempt was made by the newly formed National Book Council (NBC) to buy ABR, but, due to legal technicalities, this was not possible at that time. In 1978, John McLaren convinced the NBC to revive ABR and the magazine was adopted as the official organ of the NBC.

John McLaren was appointed editor, proceeding in a manner similar to the first series by attempting to review all Australian books; but he also faced problems of space and definition. In 1986 Kerryn Goldsworthy replaced McLaren as editor, and introduced a stronger concentration on women's issues. Louise Adler followed Goldsworthy as editor in 1988 and attempted to provoke debate by commissioning controversial reviews, but her term concluded within twelve months. Rosemary Sorenson was appointed editor in 1989, bringing a lighter tone and a desire to attract a new readership with younger writers. Sorenson was assisted by major sponsorship from Telecom, allowing her to fund a series of essays. While ABR had always published features on various topics, the sponsorship gave the essays a more significant place. The essay feature has continued with similar sponsorship from the National Library of Australia and La Trobe University.

Helen Daniel edited ABR from 1994 until her death in 2000. She lifted the profile of the magazine by organising several series of public forums and encouraged new writers with competitions for fiction and reviewing. During this time, the NBC wound down its operations after a significant proportion of its government funding was withdrawn. This had an immediate effect on the stability of ABR, forcing the magazine to separate from its parent body and publish independently.

Peter Rose was appointed editor in January 2001 and has since expanded the scope of ABR by actively commissioning poetry and fiction. Rose also developed a sponsorship scheme to support the work of ABR. In 2002 La Trobe University became the Chief Sponsor of ABR, with the National Library of Australia as its National Sponsor. Three years later Flinders University became another key sponsor and in 2007 the wealth management group Ord Minnett took on the role of exclusive corporate sponsor.

In March 1952 Bill Wannan distributed the first roneoed copies of Realist Writer to the Melbourne Realist Writers' Group, an organisation sponsored by the Communist Party of Australia (CPA). Planned as a bulletin to share work within the group, Realist Writer sought to develop the genre of social realism in Australian literature. Beginning with the third issue, Stephen Murray-Smith accepted editorial responsibility, producing seven more issues before Realist Writer was incorporated into the first issue of Overland.

The first issue of Overland delared its motto, 'Temper democratic; Bias, Australian', adapting Joseph Furphy's description of Such is Life (1903). According to Murray-Smith, Overland sought to attract a 'mass audience' and he encouraged that audience to contribute to the development of the magazine. The first issue announced that Overland 'will aim high, but has no exclusive or academic standards of any kind. It will make a special point of developing writing talent in people of diverse background. We ask of our readers, however inexpert, that they write for us; that they share our love of living, our optimism, our belief in the traditional dream of a better Australia'. The selection of writing for publication eventually caused a break between Overland and the CPA in 1958. Murray-Smith's selection policy was primarily informed by aesthetic criteria rather than the ideological criteria promoted by the CPA. Unyielding pressure from the CPA to publish ideologically informed writing forced Murray-Smith to remove the magazine from its former sponsor and proceed independently.

According to Murray-Smith, up to 4,000 copies of Overland were regularly printed in its early years, but that number dropped after the break from the CPA. The circulation dropped further in the 1960s, remaining at around 2000 for several decades. Like most editors of small magazines, Murray-Smith was faced with the challenge of attracting funds for basic publishing costs. Extra contributions from subscribers were regularly acknowledged in the 'Floating Fund' column, a tradition that continues in 2003. Early attempts to win support from the Commonwealth Literary Fund were thwarted by selection committees unsympathetic to the magazine's communist origins. But, continuing financial support from the fund was eventually won in the early 1960s.

Murray-Smith continued as editor until his death in 1988. He was succeeded by the magazine's poetry editor, Barrett Reid, who continued in the position until first John McLaren and then Ian Syson completed their editorial terms in the 1990s. Syson was succeeded in 2003 by the former associate and assistant editors, Nathan Hollier and Katherine Wilson.

Overland attracted a loyal group of poetry contributors in its first three decades. Contributors during the first decade of Overland such as Bruce Dawe, Judith Wright, Dorothy Hewett, Nancy Cato, Noel Macainsh, Chris Wallace-Crabbe and Thomas Shapcott continued to contribute poetry in the 1980s and 1990s. Later contributors include Graham Rowlands, Eric Beach, Robert Adamson, Geoff Goodfellow, Geoff Page, Laurie Duggan, Kate Lilley and Jennifer Maiden.

In both poetry and fiction Overland has shown an interest in overseas literature, particularly contemporary Chinese literature. While the contributions of poetry and fiction from this large groups of writers remained relatively strong, the value of some feature articles has occasionally been questioned by various commentators because of a perceived divergence from writing styles suitable for a general audience. At an editorial conference in 1978, Ian Turner, speaking of Overland, said, 'We have lost our popular audience; now it is rather the radical intelligentsia, say 35 years of age and older'. Echoes of this statement (not exclusively about Overland) appeared in the mid 1990s. In 1998, Duncan Richardson and Allan Gardiner complained in the pages of Overland about the trend towards academic articles unsuitable for the 'non-elite' reader, directing blame at magazines not readers for falling subscriptions.

Despite such criticism, Overland has maintained a strong reputation for investigating important social issues. Early volumes were dominated by articles on Australian literary figures and their works, but this was accompanied by articles on the bombing of Hiroshima, censorship of D. H. Lawrence's Lady Chatterley's Lover and social conditions in Aboriginal communities and Papua New Guinea. Later volumes have included essays on international conflict, immigration, multiculturalism, the practice of literary criticism, Australian historiography, sport and cinema.

Proud of its history, the newest editors of Overland, Nathan Hollier and Katherine Wilson have revisited the editorial doctrine that Murray-Smith printed in the first issue. In their first editorial they echoed Murray-Smith's call for contributions, hoping to strengthen the connection with the Australian working-class forged in the first years of Overland.