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By John McLaren
For many of the postwar interval, Australian literary debate was once marked through the department among radical nationalists at the Left and cultural conservatives at the correct. John McLaren's wide cultural heritage strains the origins of those conflicts, discusses key literary works and significant journals, and makes a speciality of the contributors considering numerous sagas and struggles. McLaren indicates that writing turned a sort of politics itself, expressing both wish or worry in regards to the revolution that was once seemed to be impending, in addition to reflecting society extra commonly. The paintings of politically devoted writers is heavily tested, as is the reaction to ostensibly unpolitical writers. McLaren additionally considers the hot journalism and the paintings of more youthful poets. He exhibits that it used to be no longer till the alterations introduced through the Nineteen Sixties and the Whitlam executive that literature used to be really free of those constraints.
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Extra resources for Writing in Hope and Fear: Literature as Politics in Postwar Australia
Sample text
His objections were evidently not merely to the fact that Meanjin published political commentary, but to the particular politics it espoused. '35 Macartney's belief in Christesen's financial resources seems to have been exceeded only by his overweening confidence in his own talents. To his feeling of being a poet undervalued, Macartney added the resentment of a well-wisher scorned. '36 Yet Macartney's polemic missed the political point as much as did Vassilieff s attack on Buckley. Each reduced its,object to an argument about freedom.
I explained to KSP [Katharine Susannah Prichard] a few months ago how I set about writing poems, and she said she thought it was 'cerebral', I wouldn't produce poetry. Now old Mao in his article on cognition (and of course Marx and Lenin before him) say that the real test of theory is in practice... So I take it that those who question my theory should test it in the light of my practice of poetry... The quality of this impulse, he argues, should be decided by the response it elicits from an audience: ...
When you read and hear of 'isms' that are foreign to the Australian Way, don't hesitate to state your opinion as forcefully as you can. For your own sake ... for your children's sake ... 24 This advertisement, inserted in the Melbourne Argus by the National Bank of Australia, was part of the campaign against bank nationalization. 25 Its equation of patriotism with freedom and education with fitting the child for her proper station in life left no room for the joyful turbulence of creativity for which Meanjin stood.