Cirrus@Austlit

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.

The Realist Writer appeared for nine issues between 1952 and 1954 before being incorporated into Overland. Essentially a bulletin for the Melbourne Realist Writers Group (RWG), the Realist Writer provided a medium for members to share their work. The RWG promoted the genre of social realism and attempted to establish a culture of readers and writers in Australia's working-class. Associated with the Communist Party, the RWG found itself without a sympathetic publication when Stephen Murray-Smith, editor of Overland, began to select contributions primarily on literary merit rather than the ideologically based assessments of the Realist Writer. Overland severed its ties with the Communist Party in 1956. Two years later the Realist Writer was revived, beginning a new phase in the development of social realism in Australia.

Printed on a roneo copier in the home of Vera Deacon, two hundred copies of the Realist Writer were produced for the first issue of the new series in 1958. Eighteen months passed before the next issue was released. But by May 1961, the first printed Realist Writer was produced, the sixth issue of the new series. With the assistance of an editorial committee, Frank Hardy was editor during the early years of the new series, maintaining an emphasis on the working-class point of view. But with branches of the RWG in Brisbane Sydney and Perth by this time, the function of the Realist Writer began to evolve from an irregular bulletin to become a significant national publication, attracting interest and contributions from writers outside of the groups.

Ray Williams was appointed editor in 1962, guiding the Realist Writer through this transitional phase. Printing up to two dozen pages, the Realist Writer now accepted fiction and poetry. Contributors included Frank Hardy, Enid Morton, Dorothy Hewett, Joan Hendry, Merv Lilley, Kath Walker, Katharine Susannah Prichard, Judah Waten, Aileen Palmer and Kylie Tennant. Under Williams, the magazine began to expand beyond the working-class themes of its origins, facing criticism from some members, particularly the Brisbane group. Nevertheless, Williams continued to press for a wider scope. Although there is no explanantion given, the changes in editorial policy might be reflected in the change of title to the Realist for the new series of the magazine in 1964.

The Realist is the third in a series of magazines associated with the Realist Writers Group (RWG). Initially emphasising a working-class point of view through social realism, the Realist Writer (1952-1954) and the new series of the Realist Writer (1958-1963) were closely associated with Communist Party ideology. The first two series of the RWG's magazine were primarily roneo copied bulletins to circulate the work of members. But by 1963 interest and contributions from outside of the group transformed the magazine into a more national publication with a wider scope and a professionally printed format.

Edited by Ray Williams, the Realist attracted many contributors from the earlier series, including Frank Hardy, Dorothy Hewett, Kath Walker, Katharine Susannah Prichard, Judah Waten and Aileen Palmer. Newer contributors included Len Fox, Wilma Hedley, Ron Tullipan, Dymphna Cusack, Harry Heseltine, Mona Brand, Dal Stivens and Hal Colebatch.

During the late 1960s the RWG was in decline and many of the earlier contributors no longer appeared in the Realist. By 1970 most of the groups had collapsed. The Realist had changed format in 1968, appearing in a smaller, glossier form, but with the decline in RWG membership, subscriptions also declined. The magazine ceased operation in 1970 after producing thirty-five numbers.