Australian Literature

Australian literature is the written or literary work produced in the area or by the people of the Commonwealth of Australia and its preceding colonies. During its early Western history, Australia was a collection of British colonies, therefore, its recognised literary tradition begins with and is linked to the broader tradition of English literature. However, the narrative art of Australian writers has, since 1788, introduced the character of a new continent into literature—exploring such themes as Aboriginality, mateship, egalitarianism, democracy, national identity, migration, Australia's unique location and geography, the complexities of urban living, and "the beauty and the terror" of life in the Australian bush.

Australian writers who have obtained international renown include the Nobel-winning author Patrick White, as well as authors Christina Stead, David Malouf, Peter Carey, Bradley Trevor Greive, Thomas Keneally, Colleen McCullough, Nevil Shute and Morris West. Notable contemporary expatriate authors include the feminist Germaine Greer, art historian Robert Hughes and humorists Barry Humphries and Clive James. Among the important authors of classic Australian works are the poets Henry Lawson, Banjo Paterson, C. J. Dennis and Dorothea Mackellar. Dennis wrote in the Australian vernacular, while Mackellar wrote the iconic patriotic poem My Country.

Lawson and Paterson clashed in the famous "Bulletin Debate" over the nature of life in Australia with Lawson considered to have the harder edged view of the Bush and Paterson the romantic. Lawson is widely regarded as one of Australia's greatest writers of short stories, while Paterson's poems remain amongst the most popular Australian bush poems. Significant poets of the 20th century included Dame Mary Gilmore, Kenneth Slessor, A. D. Hope and Judith Wright. Among the best known contemporary poets are Les Murray and Bruce Dawe, whose poems are often studied in Australian high schools. Novelists of classic Australian works include Marcus Clarke (For the Term of His Natural Life), Miles Franklin (My Brilliant Career), Henry Handel Richardson (The Fortunes of Richard Mahony), Joseph Furphy (Such Is Life), Rolf Boldrewood (Robbery Under Arms) and Ruth Park (The Harp in the South). In terms of children's literature, Norman Lindsay (The Magic Pudding), Mem Fox (Possum Magic), and May Gibbs (Snugglepot and Cuddlepie) are among the Australian classics, while Melina Marchetta (Looking for Alibrandi) is a modern YA classic.

Eminent Australian playwrights have included Steele Rudd, David Williamson, Alan Seymour and Nick Enright. Although historically only a small proportion of Australia's population have lived outside the major cities, many of Australia's most distinctive stories and legends originate in the outback, in the drovers and squatters and people of the barren, dusty plains. David Unaipon is known as the first Aboriginal author. Oodgeroo Noonuccal was the first Aboriginal Australian to publish a book of verse. A ground-breaking memoir about the experiences of the Stolen Generations can be found in Sally Morgan's My Place.

Perhaps more so than in other countries, the literature of Australia characteristically expresses collective values. Even when the literature deals with the experiences of an individual, those experiences are very likely to be estimated in terms of the ordinary, the typical, the representative. It aspires on the whole to represent integration rather than disintegration. It does not favour the heroicism of individual action unless this shows dogged perseverance in the face of inevitable defeat. Although it may express a strong ironic disapproval of collective mindlessness, the object of criticism is the mindlessness rather than the conformity. This general proposition holds true for both Indigenous Australians and those descended from later European arrivals, though the perception of what constitutes the community is quite radically different in these two cases. The white Australian community is united in part by its sense of having derived from foreign cultures, primarily that of England, and in part by its awareness of itself as a settler society with a continuing celebration of pioneer values and a deep attachment to the land. For Aboriginal peoples in their traditional cultures, story, song, and legend served to define allegiances and relationships both to others and to the land that nurtured them. For modern Aboriginal people, written literature has been a way of both claiming a voice and articulating a sense of cohesion as a people faced with real threats to the continuance of their culture.

When first encountered by Europeans, Australian Aboriginal peoples did not have written languages (individual words were collected from first contact, but languages as systems were not written down until well into the 20th century). Their songs, chants, legends, and stories, however, constituted rich oral literature, and, since the Aboriginal peoples had no common language, these creations were enormously diverse. Long unavailable to or misunderstood by non-Aboriginal people, their oral traditions appear (from researches undertaken in the last half of the 20th century) to be of considerable subtlety and complexity.

The oral literature of Aboriginal peoples has an essentially ceremonial function. It supports the fundamental Aboriginal beliefs that what is given cannot be changed and that the past exists in an eternal present, and it serves to relate the individual and the landscape to the continuing spiritual influence of the Dreaming (or Dreamtime)—widely known as the Alcheringa (or Altjeringa), the term used by the Aboriginal peoples of central Australia—a mythological past in which the existing natural environment was shaped and humanized by ancestral beings. While the recitation of the song cycles and narratives is to some extent prescribed, it also can incorporate new experience and thus remain applicable—both part of the past (called up by the Ancestors) and part of the present. Aboriginal oral tradition may be public (open to all members of a community and often a kind of entertainment) or sacred (closed to all but initiated members of one or the other sex). Narratives of the public sort range from stories told by women to young children (mostly elementary versions of creation stories—also appropriate for tourists and amateur anthropologists) to the recitation of song cycles in large gatherings (known as corroborees). Even the most uncomplicated narratives of the Dreaming introduce basic concepts about the land and about what it is that distinguishes right behaviour from wrong. When children are old enough to prepare for their initiation ceremonies, the stories become more elaborate and complex. Among the sacred songs and stories are those that are men’s business and those that are women’s business; each is forbidden to the eyes and ears of the other sex and to the uninitiated.

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