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* Contents derived from the Sydney,New South Wales,:Collins,1989 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Three Ways of Looking at Kalymnos : Charmian Clift’s Differing Versions of One Greek IslandShilo Previti,
Jamie Walters,
David Roessel,
2019single work criticism — Appears in:
JASAL,vol.
19no.
12019;'In 1951, married Australian writers Charmian Clift and George Johnston, feeling stifled by postwar conservatism, left Sydney behind to find a more ‘authentic’ way of living. They went first to London, the mecca for Australian literary expatriates, where there was no shortage of work and culture, but where they quickly felt trapped by the ‘rat-race’ mentality of a modern city. So in 1954 they left again, this time for the Greek islands, disposing of material possessions and cutting many of their personal ties. Hoping for a permanent shift from mundane to romantic, they embraced the shining ideals offered by Greek island life: other-worldly beauty; ‘simple’ Greek lifestyles, and freedom from the many pressures of the ‘real’ world.' (Introduction)
Three Ways of Looking at Kalymnos : Charmian Clift’s Differing Versions of One Greek IslandShilo Previti,
Jamie Walters,
David Roessel,
2019single work criticism — Appears in:
JASAL,vol.
19no.
12019;'In 1951, married Australian writers Charmian Clift and George Johnston, feeling stifled by postwar conservatism, left Sydney behind to find a more ‘authentic’ way of living. They went first to London, the mecca for Australian literary expatriates, where there was no shortage of work and culture, but where they quickly felt trapped by the ‘rat-race’ mentality of a modern city. So in 1954 they left again, this time for the Greek islands, disposing of material possessions and cutting many of their personal ties. Hoping for a permanent shift from mundane to romantic, they embraced the shining ideals offered by Greek island life: other-worldly beauty; ‘simple’ Greek lifestyles, and freedom from the many pressures of the ‘real’ world.' (Introduction)
