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Such Is Life is an Australian novel written by Joseph Furphy under a pseudonym of “Tom Collins” and published in 1903. It purports to be a series of diary entries by the author, selected at approximately one-month intervals during late 1883 and early 1884. “Tom Collins” travels rural New South Wales and Victoria, interacting and talking at length with a variety of characters including the drivers of bullock-teams, itinerant swagmen, boundary riders, and squatters (the owners of large rural properties). The novel is full of entertaining and sometimes melancholy incidents mixed with the philosophical ramblings of the author and his frequent quotations from Shakespeare and poetry. Its depictions of the Australian bush, the rural lifestyle, and the depredations of drought are vivid. Furphy is sometimes called the “Father of the Australian Novel,” and Such Is Life is considered a classic of Australian literature.
Welcome to the Essential Novelists book series, were we present to you the best works of remarkable authors. For this book, the literary critic August Nemo has chosen the two most important and meaningful novels ofJoseph Furphywich areSuch is Life and Rigby's Romance. Joseph Furphy novels combine an acute sense of local Australian life and colour with the eclectic philosophy and literary ideas of a self-taught workingman. Novels selected for this book: - Such is Life. - Rigby's Romance. This is one of many books in the series Essential Novelists. If you liked this book, look for the other titles in the series, we are sure you will like some of the authors.
Since its publication in 1903, Joseph Furphy’s Such is Life has become established as an Australian classic. But which version of the novel is the authoritative text, and what does its history reveal about Australian cultural life? From Furphy’s handwritten manuscript through numerous editions, a controversial abridgement for the British market (condemned by A.D. Hope as a “mutilation”), and periods of obscurity and rediscovery, the text has been reshaped and repackaged by many hands. Furphy’s first editors at the Bulletin diluted his socialist message and “corrected” his Australian slang to create a more marketable book. Later, literary players including Vance and Nettie Palmer, Miles Franklin, Kate Baker and Angus & Robertson all took an interest in how Furphy’s work should be published. In a fascinating piece of literary detective work, Osborne traces the book’s journey and shows how economic and cultural forces helped to shape the novel we read today.
‘Locating Australian Literary Memory’ explores the cultural meanings suffusing local literary commemorations. It is orientated around eleven authors – Adam Lindsay Gordon, Joseph Furphy, Henry Handel Richardson, Henry Lawson, A. B. ‘Banjo’ Paterson, Nan Chauncy, Katharine Susannah Prichard, Eleanor Dark, P. L. Travers, Kylie Tennant and David Unaipon – who have all been celebrated through a range of forms including statues, huts, trees, writers’ houses and assorted objects. Brigid Magner illuminates the social memory residing in these monuments and artefacts, which were largely created as bulwarks against forgetting. Acknowledging the value of literary memorials and the voluntary labour that enables them, she traverses the many contradictions, ironies and eccentricities of authorial commemoration in Australia, arguing for an expanded repertoire of practices to recognise those who have been hitherto excluded.
When her grandfather dies, fourteen-year-old amateur detective Hazel Wong and her best friend Daisy Wells travel to Hong Kong, where the girls find themselves framed for murder and tangled up in a family mystery.
I tell you that this story of my own is part of a much older story... one of a perpetual billowing from the sea, with its rhythm of return, return, remain... I offer these words, especially to those of you I embarrass, and who turn away from the shame of seeing me... We are still here, Benang.
This is the third and final volume of the landmark, award-winning series The Europeans in Australia that gives an account of settlement by Britain. It tells of the various ways in which that experience shaped imagination and belief among the settler people from the eighteenth century to the end of World War I.Volume Three, Nation, tells the story of Australian Federation and the war with a focus, as ever on ordinary habits of thought and feeling. In this period, for the first time the settler people began to grasp the vastness of the continent, and to think of it as their own. There was a massive funding of education, and the intellectual reach of men and women was suddenly expanded, to an extent that seemed dazzling to many at the time. Women began to shape public imagination as they had not done before. At the same time, the worship of mere ideas had its victims, most obviously the Aboriginal people, and the war itself proved what vast tragedies it could unleash.The culmination of an extraordinary career in the writing and teaching of Australian history, The Europeans in Australia grapples with the Australian historical experience as a whole from the point of view of the settlers from Europe. Ambitious and unique, it is the first such large, single-author account since Manning Clark’s A History of Australia.
This volume trace ways in which time is represented in reverse forms throughout modernist culture, from the beginning of the twentieth century until the decade after World War II. Though modernism is often associated with revolutionary or futurist directions, this book argues instead that a retrograde dimension is embedded within it. By juxtaposing the literature of Europe and North America with that of Australia and New Zealand, it suggests how this antipodean context serves to defamiliarize and reconceptualize normative modernist understandings of temporal progression. Backgazing thus moves beyond the treatment of a specific geographical periphery as another margin on the expanding field of 'New Modernist Studies'. Instead, it offers a systematic investigation of the transformative effect of retrograde dimensions on our understanding of canonical modernist texts. The title, 'backgazing', is taken from Australian poet Robert G. FitzGerald's 1938 poem 'Essay on Memory', and it epitomizes how the cultural history of modernism can be restructured according to a radically different discursive map. Backgazing intellectually reconfigures US and European modernism within a planetary orbit in which the literature of Australia and the Southern Hemisphere, far from being merely an annexed margin, can be seen substantively to change the directional compass of modernism more generally. By reading canonical modernists such as James Joyce and T. S. Eliot alongside marginalized writers such as Nancy Cunard and others and relatively neglected authors from Australia and New Zealand, this book offers a revisionist cultural history of modernist time, one framed by a recognition of how its measurement is modulated across geographical space.
An audacious, entertaining historical epic spanning continents and centuries, for readers of David Mitchell, Colum McCann, Kate Atkinson, and Eleanor Catton. Fortune is a dazzling, endlessly surprising historical novel that opens the day Napoleon leads his victorious Grande Armée into Berlin after having conquered Prussia in battle. As crowds throng the streets to witness the emperor in his glory, a handful of lives that briefly touch are sprung from their orbits and set on courses that will take them across Europe and around the world—their fates and desires sometimes intersecting—to strange lands in the Caribbean and South America, the Australian continent and Van Diemen's Land, and back to a Europe now transformed. A frustrated general in Napoleon's army, billeted with one of Berlin's finest families. Elisabeth, a passionate young woman living in that house. The young man with whom she locks eyes through a window as he's engaged in a sexual encounter at the moment Napoleon makes his grand entrance. An entrepreneur in New World exotica, whose house is the setting for the tryst. A slave from Suriname, Mr. Hendrik, with his resentful white American companion, who have traveled to Berlin to sell a barrel of electric eels for their master. And a lost soul enamored of philosophy in the coffeehouses where students gather, who decides to join Mr. Hendrik and the American on their return voyage. Through their stories amid war, cataclysm, colliding cultures, and misadventure, Lenny Bartulin imagines the ways that chance and the grand events of history shape the course of ordinary lives.