'Superbly evoking life in Sydney and London in the 1930s, For Love Alone is the story of the intelligent and determined Teresa Hawkins, who believes in passionate love and yearns to experience it. She focuses her energy on Jonathan Crow, an unlikeable and arrogant man whom she follows to London after four long years of working in a factory and living at home with her loveless family. Reunited with Crow in London, she begins to realise that perhaps he is not as worthy of her affections as originally thought and abandons her idealised vision of love for something quite different.' (From Melbourne University Publishing's website, new ed., 2011)
For Love Alone
( dir. Stephen Henry Wallace
)
Australia
:
Western Film Productions
,
1986
Z1681955
1986
single work
film/TV
Set in Australia in the 1930s, For Love Alone is the story of Teresa, a poor young woman in love with a dashing but arrogant teacher who preaches free love and watered-down socialist precepts. She follows him to England, meeting a gentle banker en route. The film follows her relationships as they are transformed in England.
'What is it about modernism, that multivalent category riven with internal contradictions, that makes literary criticism continue to value it as a category?...' (Introduction)
'This essay discusses Stead's two most prominent novels, which are often reprinted and thus available to international readerships and teachers. One is set in Washington DC, the other in Sydney and London, but together they draw on and transfigure the key elements of her Australian childhood and youth.' (112)
'Despite waves of interest in the work of Christina Stead, one aspect of her writing life has been largely neglected. From September 1943, she taught three series of extended writing workshops in New York and in the process left more than three hundred pages documenting her teaching. The question motivating this paper is: Why should we, as writers and teachers of writing, read her writing workshop notebooks nowadays? This paper will place Stead’s workshop in the context of the development of institutional teaching of novel writing and her emergence as a major writer. It will briefly examine how the notebooks have previously been understood and offer a closer analysis than has been made to date of the notebooks and their content and of the key issues raised by them. In particular, we shall explore her pedagogic focus upon workshop participants developing a rigorous, analytical approach to crafting novels and her extensive use of Georges Polti’s Thirty-Six Dramatic Situations to achieve this. That, in turn, will enable us to assess what the notebooks independently reveal about her beliefs regarding the novel and its purpose. ' (Publication summary)
