The Joyful Condemned
London
:
Macmillan
,
1953
Z247632
1953
single work
novel
'Never directly associated with nor influenced by one another, the British author George Orwell and the Australian novelist Kylie Tennant are nonetheless two contemporaneous writers for whom the issue of poverty proved an enduring preoccupation in both work and life. Both sought lived experience of Depression era hardship that was, in turn, translated into ambiguous works of fiction and non-fiction. During a formative period in both writers’ careers, Orwell and Tennant were published in England by the influential and progressive left-wing house of Victor Gollancz. This essay examines the representation of poverty in Orwell’s Down and Out in Paris and London (1933) and The Road to Wigan Pier (1937), the latter of which was distributed through Gollancz’s Left Book Club during the peak of the ‘Yellow Book’ period, and in Tennant’s fictional portrait of inner-city working-class life, Foveaux (1939), through the lens of their association with Gollancz. It argues that the urgent moral imperative to solve the global crisis of poverty represents an important basis for understanding the turn to documentary realism by Orwell and Tennant at that time. While publication by Gollancz helped to establish international reputations for Orwell and Tennant as writers of social conscience, this essay also considers the extent to which the growing scrutiny afforded to the participant-observer mode complicates their contemporary reception.' (Publication abstract)
'Australian culture is frequently described as materialistic, hedonistic and fun-loving, and no doubt it is, in some respects, all those things. The 'land of the long week-end', its 'great stupor' perhaps, even the 'lucky country' - all these more or less flattering tags suggest, sometimes in the face of what their authors intended, that nothing can go seriously wrong in Australia, where life cannot be but easy-going and enjoyable. And so it would appear that, as Craig McGregor observed, 'the Australian race is engaged in a whole-hearted pursuit of happiness without guilt. The beach, in particular, has been for several decades one of the major symbols of the Australian way of life, the locus of Australian hedonism, where people worship the sun, display their near-naked bodies, and ogle other people's...' (p. 81)
'Australian culture is frequently described as materialistic, hedonistic and fun-loving, and no doubt it is, in some respects, all those things. The 'land of the long week-end', its 'great stupor' perhaps, even the 'lucky country' - all these more or less flattering tags suggest, sometimes in the face of what their authors intended, that nothing can go seriously wrong in Australia, where life cannot be but easy-going and enjoyable. And so it would appear that, as Craig McGregor observed, 'the Australian race is engaged in a whole-hearted pursuit of happiness without guilt. The beach, in particular, has been for several decades one of the major symbols of the Australian way of life, the locus of Australian hedonism, where people worship the sun, display their near-naked bodies, and ogle other people's...' (p. 81)
'Never directly associated with nor influenced by one another, the British author George Orwell and the Australian novelist Kylie Tennant are nonetheless two contemporaneous writers for whom the issue of poverty proved an enduring preoccupation in both work and life. Both sought lived experience of Depression era hardship that was, in turn, translated into ambiguous works of fiction and non-fiction. During a formative period in both writers’ careers, Orwell and Tennant were published in England by the influential and progressive left-wing house of Victor Gollancz. This essay examines the representation of poverty in Orwell’s Down and Out in Paris and London (1933) and The Road to Wigan Pier (1937), the latter of which was distributed through Gollancz’s Left Book Club during the peak of the ‘Yellow Book’ period, and in Tennant’s fictional portrait of inner-city working-class life, Foveaux (1939), through the lens of their association with Gollancz. It argues that the urgent moral imperative to solve the global crisis of poverty represents an important basis for understanding the turn to documentary realism by Orwell and Tennant at that time. While publication by Gollancz helped to establish international reputations for Orwell and Tennant as writers of social conscience, this essay also considers the extent to which the growing scrutiny afforded to the participant-observer mode complicates their contemporary reception.' (Publication abstract)
