Cirrus@Austlit

Such is Life: Being Certain Extracts from the Diary of Tom Collins. Joseph Furphy's title gives an indication of the complexity of the narrative that will unravel before a persistent reader. In chapter one, the narrator, Tom Collins, joins a group of bullockies to camp for the night a few miles from Runnymede Station. Their conversations reveal many of the issues that arise throughout the rest of the novel: the ownership of, or control of access to, pasture; ideas of providence, fate and superstition; and a concern for federation that flows into descriptions of the coming Australian in later chapters. Each of the characters provides a portrait of bush types that Furphy uses to measure the qualities of squatters and others against popular ideas of the 'gentleman'. Furphy's choice of a narrative structure to create a 'loosely federated' series of yarns is itself a critique of popular narratives populated by stock characters who are driven by action that leads to predictable and uncomplicated conclusions. Tom Collins, the unreliable narrator, adds further complications by claiming to 'read men like signboards' while all the time being unknowingly contradicted by circumstances that become obvious to the reader.

In each subsequent chapter Tom Collins leads the reader through a series of experiences chosen from his diaries. In chapter two, Collins meets the boundary rider Rory O'Halloran and his daughter, Mary, a symbol of the coming Australian whose devotion to her father will have tragic consequences in chapter five. There are many links between chapters like this one that remain invisible to Collins, despite his attempts to understand the 'controlling alternatives' that affect our lives. In chapter three Tom loses his clothes crossing the Murray River and spends the night wandering naked until he is able to steal a pair of pants after diverting attention by setting fire to a haystack. In chapter four Collins helps an ailing Warrigal Alf by deceiving several boundary riders who have impounded Alf's bullocks. In chapter five, among other yarns of lost children, Thompson completes the tragic tale of Mary O'Halloran, connecting with the events of chapter two. Chapters six and seven take Tom Collins back to Runnymede Station where he attempts to avoid an unwelcome union with Maud Beaudesart. He also meets the disfigured boundary rider, Nosey Alf, whose life story Furphy has threaded throughout the narrative, signs not perceived by Tom Collins. When Collins returns to Runnymede at the end of the novel, Furphy ties up more loose narrative threads, but Tom Collins, the narrator, remains oblivious to the end.

In short, Such Is Life 'reflects the preoccupations of [the 1890s]: contemporary capitalism, ardent Australian nationalism, the difficulties of pioneering pastoralism, and speculation about a future Australian civilization. It was instantly seen as a major example of the "radical nationalism" of the time and praised for its realistic representation of life on the frontier in the 1880s. But it was forty years before many readers realized that the novel was also a subtle comment on fiction itself and that within it were hidden stories that revealed a world of "romance" within its "realist" representation of life. Such Is Life can be read as the first experimental novel in Australian literature and the first Australian literary expression of a twentieth-century sensibility of the provisionality of life and reality.' (Julian Croft, 'Joseph Furphy.' in Dictionary of Literary Biography Vol. 230.)

'Arriving in Capricornia (a fictional name for the Northern Territory) in 1904 with his brother Oscar, Mark Shillingworth soon becomes part of the flotsam and jetsam of Port Zodiac (Darwin) society. Dismissed from the public service for drunkenness, Mark forms a brief relationship with an Aboriginal woman and fathers a son, whom he deserts and who acquires the name of Naw-Nim (no-name). After killing a Chinese shopkeeper, Norman disappears from view until the second half of the novel.

'Oscar, the respectable contrast to Mark, marries and tries to establish himself on a Capricornian cattle station, Red Ochre, but is deserted by his wife and eventually returns for a time to Batman (Melbourne), accompanied by his daughter Marigold and foster son Norman, who has been sent to him after Mark's desertion.

'Oscar rejects the plea of a former employee, Peter Differ, to see to the welfare of his daughter Constance; Constance Differ is placed under the 'protection' of Humboldt Lace, a Protector of Aborigines, who seduces her and then marries her off to another man of Aboriginal descent. Forced into prostitution, Constance is dying of consumption when discovered by a railway fitter, Tim O'Cannon, who will take care of Constance's daughter, Tocky, until his own death in a train accident.
Hearing news in 1928 of an economic boom in Capricornia, Oscar returns to his station, where he is joined by Marigold and Norman, who has grown to manhood believing himself to be the son of a Javanese princess and a solider killed in the First World War. Soon after, he discovers his mother was an Aboriginal woman, and meets his father, with whom he will not reconcile until later in the novel. Norman then goes on a series of journeys to discover his true, Aboriginal self. On the second of these journeys, he meets and wanders in the wilderness with Tocky, who has escaped from the mission station to which she was sent after the death of O'Cannon. During this passage, she kills a man in self-defense, which leads to Norman's being accused of murder, at the same time his father is prosecuted for the death of the Chinese shopkeeper. At the end of the novel they are both acquitted, Heather and Mark are married, and Norman returns to Red Ochre, where he finds the body of Tocky and their child in a water tank in which she had taken refuge from the authorities.' (Source: Oxford Companion to Australian Literature)

'In the late afternoon of a day in February, that hottest of Australian summer months, when a brutal sun stood bronze above the river flats which you may see from the dormitory windows of Chatterton, Charles came to the school with his mother, walking from the railway station to the gates by a private path across a burnt, untidy field, overhung with Cape lilacs that still drooped, dusty and melancholy…In the lower part of his belly fear kicked and pulsed like a child in the womb, ready to be born.

'Fifteen-year-old Charles Fox is sent away to boarding school, innocent, alone and afraid. There one of his masters develops an intense attachment to him. But when Charles meets Margaret, a girl staying at a nearby farm for the holidays, he is besotted, and a passionate, unforgettable romance begins. ' (Publication summary : Text Classics)

(Source: Harper Collins)

'I’m only telling you this to let you know what a silly thing it is to live like I do. What it was, I got sacked from my seventeenth job for fighting or gambling—I don’t know which—and because I was hardly ever there. I was gambling all right, but someone called me a cheat and swung at me, I moved my head and swung back and this kid went in to one of the bosses with blood coming out of his mouth saying I was a standover man.

'The Chantic Bird is the confession of a teenage anarchist, who combines a contempt for contemporary society with a great tenderness and warmth for his younger siblings and for Bee, the girl who looks after them.

'The first of David Ireland’s masterful novels, The Chantic Bird contains the same characteristic indictment of the bovine mindlessness of collective humanity, and the home-owning wage slaves.

‘It has been my aim to take apart, then build up piece by piece, this mosaic of one kind of human life…to remind my present age of its industrial adolescence.’ David Ireland

'This edition of The Chantic Bird comes with a new introduction by Geordie Williamson.' (Text Classic summary)

'Wild Cat Falling is the story of an Aboriginal youth, a 'bodgie' of the early sixties who grows up on the ragged outskirts of a country town, falls into petty crime, goes to gaol, and comes out to do battle once more with the society who put him there. Its publication in 1965 marked a unique literary event, for this was the first novel by any writer of Aboriginal blood to be published in Australia. As well, it is a remarkable piece of literature in its own right, expressing the dilemmas and conflicts of the young Aboriginal in modern Australian society with its memorable insight and stylishness.' (Publication summary)

'At the end of the 1920s Christina Stead had left Australia and was poised to write Seven Poor Men of Sydney. In London Miles Franklin was producing her first Brent of Bin Bin book and would soon return to Australia. Katharine Susannah Prichard was enlarging her view of black and white in outback Australia, and the team writing under the name M. Barnard Eldershaw had published its first novel and won the Bulletin prize. Gathering these writers into a network by her support and criticism was the influential Nettie Palmer. In the mid-1930s these women and other writers such as Eleanor Dark, Jean Devanny, Dymphna Cusack and Betty Roland faced the impact of fascism and another war. The platform and the writing desk had different and often conflicting appeals; and the Depression underlined the already precarious existence of the woman writer. This immensely readable work by one of Australia's most respected writers of today is a fascinating insight into the lives of these significant literary figures, and into the creative process itself.' (Publication summary)

'When two amateur archaeologists in Australia uncover a hidden high-tech tomb they inadvertently awaken a millennia-old superhuman. Does the beautiful Earani mean to save humanity or destroy it?

'A country farmer uncovers remnants of an advanced civilization that contain a woman, asleep in suspended animation for two thousand years. Upon awakening the woman Earani teleports herself into the office of the Australian Prime Minister and reveals her plans to take over the world – through mind control.

'An advanced civilization from the impossibly distant past is about to be resurrected in rural Australia. What dark secrets does it hold? Is it possible for a man to deny the requests of the world's most beautiful and intelligent woman? To fight a relentless and appealing logic no matter how horrific the consequences?

'It's rare that a novel captures a country's soul. How is it possible that a novel written almost a hundred years ago can speak to us so deeply of things that disturb and torment Australians even today? Out of the Silence is the most perplexing of novels, where during the course of the story your expectations and assumptions are turned 180 degrees.'

Source: Publisher's blurb.

'What was Puroil? At Clearwater it was a sprawling refinery, an army of white shirts, a fleet of wagons, a number of apparently separate companies, dozens of monolithic departments protected from each other by an armour of functional difference and jealousy. On the refinery site it was two hundred and fifty shabby prisoners, a heavy overload of foremen, supervisors, plant controllers, shift controllers, up to the giddy height of section heads (popularly miscalled Suction Heads, a metaphor deriving from pumps) who were clerks for the technologists; project and process engineers and superintendents who were whipping-boys for the—whisper it!—the Old Man himself, the Manager, who was actually only a Branch Manager and a sort of bum-boy for Head Office in Victoria, which was a backward colonial outpost in the eyes of the London office, which was a junior partner in British-European Puroil its mighty self, which was the property of anonymous shareholders.

'On the shores of Botany Bay lies an oil refinery where workers are free to come and go—but they are also part of an unrelenting, alienating economy from which there is no escape. In the first of his three Miles Franklin Award-winning novels, originally published in 1971, David Ireland offers a fiercely brilliant comic portrait of Australia in the grip of a dehumanising labour system.' (Publication summary : Text Classics)

'During the early 1950s, many young Australians made the traditional pilgrimage to Europe by ship. Meanwhile, a wave og post-war European migrants was coming the other way: 'Displaced Persons'; refugees from the havoc of the Second World War.

'Ilsa Kalnins, the Latvian showgirl, is one such refugee. Robert O'Brien is a sheltered young Australian, running away from the tedium and security of a country that is still almost wholly insular and Anglo-Saxon. Ilsa, disturbed and disturbing, exerts a fascination over Robert that changes the voyage and his life. He is never to reach Europe: instead they travel through India together. Ahead is catastrophe, as each seeks in the other answers that cannot be found.' (Publication summary)

'The flowers flared up from the ground unconquerable. The unrepentant gaiety of the weed, the burning blues and crimsons, set the hills glowing.

''It's a plant that's struck it lucky,' the Stray said thoughtfully. 'It hasn't got no right, but it's there.'

'The Battlers is the story of Snow, a drifter and wanderer, the waiflike Dancy the Stray, from the slums of Sydney, and the other outcasts who accompany them as they travel the country roads looking for work. Like the weed Patterson's Curse, they 'haven't got no right', but they are there. Based on her own experiences of life on the roads in the 1930s, Tennant tells the story of the motley crowd of travellers with compassion and humour. First published in 1941, The Battlers was awarded the Gold Medal of the Australian Literature Society and shared the S. H. Prior Memorial Prize. More than seventy years later, the book's message of survival against the odds is as relevant today as it was then. ' (Publication summary)

'At the end of the 1920s Christina Stead had left Australia and was poised to write Seven Poor Men of Sydney. In London Miles Franklin was producing her first Brent of Bin Bin book and would soon return to Australia. Katharine Susannah Prichard was enlarging her view of black and white in outback Australia, and the team writing under the name M. Barnard Eldershaw had published its first novel and won the Bulletin prize. Gathering these writers into a network by her support and criticism was the influential Nettie Palmer. In the mid-1930s these women and other writers such as Eleanor Dark, Jean Devanny, Dymphna Cusack and Betty Roland faced the impact of fascism and another war. The platform and the writing desk had different and often conflicting appeals; and the Depression underlined the already precarious existence of the woman writer. This immensely readable work by one of Australia's most respected writers of today is a fascinating insight into the lives of these significant literary figures, and into the creative process itself.' (Publication summary)

'The wind from Siberia as announced by the BBC came down Bayswater Road from the direction of Marble Arch…Searing skin, and petrifying metal and wood, it took possession of London and this early day of the new year. Gently, somehow sympathetically, with a secret sort of throb, my ears ached against it, but rather more drearily and with a sense of injustice my eyes watered as I narrowed them at the steely dark sky and swirling smoke. The centre of the universe! The brilliance of the winter season!

'The flowers flared up from the ground unconquerable. The unrepentant gaiety of the weed, the burning blues and crimsons, set the hills glowing.

''It's a plant that's struck it lucky,' the Stray said thoughtfully. 'It hasn't got no right, but it's there.'

'The Battlers is the story of Snow, a drifter and wanderer, the waiflike Dancy the Stray, from the slums of Sydney, and the other outcasts who accompany them as they travel the country roads looking for work. Like the weed Patterson's Curse, they 'haven't got no right', but they are there. Based on her own experiences of life on the roads in the 1930s, Tennant tells the story of the motley crowd of travellers with compassion and humour. First published in 1941, The Battlers was awarded the Gold Medal of the Australian Literature Society and shared the S. H. Prior Memorial Prize. More than seventy years later, the book's message of survival against the odds is as relevant today as it was then. ' (Publication summary)

'"Civilization is mad and getting madder every day".

'So says Shannon Hicks in Kylie Tennant's marvellous, harsh, satiric 1943 novel. Arriving in Sydney just before WWII, Shannon, a dreamer and idealist takes on the world of politics, business, religion and men.

'The consequences are challenging and unpredictable.'

Source: Publisher's Blurb (A&R Classics).

(Source: Harper Collins)

This novel of present day migrant life centres on Joshua Kuperschmidt who arrives with his wife Shoshanah, from Poland, in 1925. He has given up his family and his traditional European ties to escape war and persecution, in the hope of a better life.

It is the moving story of a Jewish couple who have adapted themselves to a strange new environment in a distant land - a country where even the small Jewish community differs markedly from that they have known. Material success is the reward for Shoshanah's unrelenting ambition; but Joshua is never sure whether his own ambitions in this new society are ever fulfilled. (Publisher's blurb).

'Arriving in Capricornia (a fictional name for the Northern Territory) in 1904 with his brother Oscar, Mark Shillingworth soon becomes part of the flotsam and jetsam of Port Zodiac (Darwin) society. Dismissed from the public service for drunkenness, Mark forms a brief relationship with an Aboriginal woman and fathers a son, whom he deserts and who acquires the name of Naw-Nim (no-name). After killing a Chinese shopkeeper, Norman disappears from view until the second half of the novel.

'Oscar, the respectable contrast to Mark, marries and tries to establish himself on a Capricornian cattle station, Red Ochre, but is deserted by his wife and eventually returns for a time to Batman (Melbourne), accompanied by his daughter Marigold and foster son Norman, who has been sent to him after Mark's desertion.

'Oscar rejects the plea of a former employee, Peter Differ, to see to the welfare of his daughter Constance; Constance Differ is placed under the 'protection' of Humboldt Lace, a Protector of Aborigines, who seduces her and then marries her off to another man of Aboriginal descent. Forced into prostitution, Constance is dying of consumption when discovered by a railway fitter, Tim O'Cannon, who will take care of Constance's daughter, Tocky, until his own death in a train accident.
Hearing news in 1928 of an economic boom in Capricornia, Oscar returns to his station, where he is joined by Marigold and Norman, who has grown to manhood believing himself to be the son of a Javanese princess and a solider killed in the First World War. Soon after, he discovers his mother was an Aboriginal woman, and meets his father, with whom he will not reconcile until later in the novel. Norman then goes on a series of journeys to discover his true, Aboriginal self. On the second of these journeys, he meets and wanders in the wilderness with Tocky, who has escaped from the mission station to which she was sent after the death of O'Cannon. During this passage, she kills a man in self-defense, which leads to Norman's being accused of murder, at the same time his father is prosecuted for the death of the Chinese shopkeeper. At the end of the novel they are both acquitted, Heather and Mark are married, and Norman returns to Red Ochre, where he finds the body of Tocky and their child in a water tank in which she had taken refuge from the authorities.' (Source: Oxford Companion to Australian Literature)

'Birds of Passage is the powerful and haunting story of Seamus O'Young, an Australian-born Chinese, on a collision course with the past.

'He reconstructs his past through the eyes of Shan, an ancestor who came to Australia in the 1880s. And, just as Shan was driven from the goldfields by depravity, racism and sheer greed; so Seamus finds himself, a century later, fighting for his own life and sanity.'

Source: Goodreads.

'Alien Son, in simple yet rich language, is the story of a Russian family settling in Australia in the years before the first World War.  Waten tells of life in his home, among the family's Jewish friends, among his new Australian playmates, on his father's bottle-o rounds - of their hopes, despairs, the comedies and tragedies - all told with the warmth, understanding, and sometimes lack of understanding, that is felt by a child finding himself between the two worlds.  His attempts to reconcile the demands of these two worlds rarely meet with success; often they end in situations that are at once poignantly sad and humorous.'

Source: Publisher's blurb (Australian Classics ed.).

'In the late afternoon of a day in February, that hottest of Australian summer months, when a brutal sun stood bronze above the river flats which you may see from the dormitory windows of Chatterton, Charles came to the school with his mother, walking from the railway station to the gates by a private path across a burnt, untidy field, overhung with Cape lilacs that still drooped, dusty and melancholy…In the lower part of his belly fear kicked and pulsed like a child in the womb, ready to be born.

'Fifteen-year-old Charles Fox is sent away to boarding school, innocent, alone and afraid. There one of his masters develops an intense attachment to him. But when Charles meets Margaret, a girl staying at a nearby farm for the holidays, he is besotted, and a passionate, unforgettable romance begins. ' (Publication summary : Text Classics)

'Late at night Lloyd Fitzherbert, police reporter with the Sydney Gazette, is picked up by his man in CIB for a ‘last-minute job that won’t take a minute’ at the morgue. A body has been found in the harbour. Irma, a beautiful young woman who fled persecution in Nazi Europe, is dead.

'She was Fitzherbert’s lover. And, though the police don’t know it yet, he killed her.

'Gripping and atmospheric, The Refuge is a murderer’s confession—a tale of wartime Sydney, with its paranoia about communism and spies. Kenneth Mackenzie’s last novel is utterly different to his lauded debut, The Young Desire It, yet it shares that book’s psychological acuity and mastery of language.' (Text Classic summary)