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'The cheerful hearted Wattle Babies are like little rays of sunshine in the Australian bush. These good natured Blossoms love to swim with the frogs and play with the baby birds.' (Source: author's website)
Publication Details of Only Known VersionEarliest 2 Known Versions of
yGumnut BabiesMay Gibbs,
Pymble:Angus and Robertson,2001Z9685212001selected work picture book children's fiction children's
'A delightful collection of some of May Gibbs's most charming 'bush babies' stories.
May Gibbs's marvellous creation - the Gumnut world, with its tiny heroes and heroines and deliciously villainous villains - has fascinated generations of children. Gumnuts at the races, at the ballet and dancing at balls are some of the scenes that have delighted us all.
Brought together here are the stories of Flannel Flowers and Other Bush Babies, Wattle Babies, Boronia Babies and Gum-Blossom Babies plus Nuttybub and Nittersing and Chucklebud and Wunkydoo.' (Source: Publisher's blurb)
“She Flings her Elfin Dreams of Mystery” : The Child-Poet Gwen Cope in the Land of “Australian Faery,” 1931–1939Nicole Anae,
2013single work criticism — Appears in:
Bookbird,Januaryvol.
51no.
12013;(p. 21-30)'Gwen Cope enjoyed a significant reputation as a gifted Australian child-poet throughout the 1930s. Nevertheless, her two collections remain unacknowledged in the history of Australian literature despite their popularity. This article situates Cope's fairy-poetry against the ideological backdrop defined by adult fairy-poets of the 1930s to reveal fundamental discords between the child-poet writing her vision of fairy-folklore and the canonical writers who aimed to re-conceptualize " faery-lore" in the interests of Australian national literature.' (Author's abstract)
“She Flings her Elfin Dreams of Mystery” : The Child-Poet Gwen Cope in the Land of “Australian Faery,” 1931–1939Nicole Anae,
2013single work criticism — Appears in:
Bookbird,Januaryvol.
51no.
12013;(p. 21-30)'Gwen Cope enjoyed a significant reputation as a gifted Australian child-poet throughout the 1930s. Nevertheless, her two collections remain unacknowledged in the history of Australian literature despite their popularity. This article situates Cope's fairy-poetry against the ideological backdrop defined by adult fairy-poets of the 1930s to reveal fundamental discords between the child-poet writing her vision of fairy-folklore and the canonical writers who aimed to re-conceptualize " faery-lore" in the interests of Australian national literature.' (Author's abstract)
