Many thanks Andrew RE: Jindies. Will be useful.
regards
Ian
>
>There's a bundle of stuff on them on the Net, Ian. In fact one of them
>still
>lives in Perth, although he is an old man now - Alec Choate. He was
>published in their Anthologies ...
>
>Here's a file I still have hanging around from some study I was doing into
>Australian english. If I find more I'll send it on. (Some of the file seems
>messy, but you'll just have to tidy any bits up you want or go to the
>website.)
>
>Andrew
>
>
>From Rex Ingamells Unknown Land (Adelaide, 1934)
>
>Australia's long, lone coast of capes and bays,
>vast gulfs and pebbled inlets, steep arrays
>of salt-ribbed seaweed, shelly beaches, scarred
>cliff-granite, rock-jut, creamy sand-shelves, marred
>of smooth perfection only by rain-runnels
>or. at low tide, by tiny sea-worm tunnels . . .
>Australia's long, lone coastline will preserve
>an unassailable. secret soul, observe
>its own communion ... into which will enter
>no whisper of strange empires where they centre:
>Australia will rebut a hundred races
>if such envision only alien places
>as source of truth . . .
>
>
>
>collected from http://www.reasoninrevolt.net.au/pdf/b000071.pdf 24 November
>2005
>
>1V: NEW THOLIGHTS FOR OLD.
>A new culture must be possessed of a new idiom. The
>thought-forms of the past are no longer applicable, and a new
>language must arise to fill the void. The uew literature must
>reflect the song of galahs at nightfall, catch the rhyth~ri of
>sun-filled rocks, echo the quiet sound of billabongs at night.
>jt ~nust capture that spirit t h r o q h which
>"The barest hills in arid sand
>burn beauty into sight
>when evening, with a savage hand.
>sets a11 their scarps dight."
>It is not enough merely to think ot gumtrees; the thoughtidmm
>through which we convey our pictures must he adapted
>to them. Cattle tracks are no longer "long dusky aisles." 111
>I I I C plxe of such Gothic visions arise pictures of
>"Stern-hearted freemen, felling tall trees,
>building
>rough homesteads amid far, unfamiliar places."
>rugged pictures of hard days that fade into other pictures OF
>"klerds of cattle, lowing by the fertile hanks of
>eastcrn rivers; drowsing under redgums, where the blackand-
>whitt. magpie sits calling ecstatically."
>The Australian poet must cry with Mudie:
>"Let us, oh sun, take fire
>from your bright heat, let bushfires rage
>about the scrub and ranges of our hearts."
>He must paint the truly Australian in a way that is itself trdy
>reflective of the scene it paints. He must learn, as R. Kate
>learnt in The Waratah. to express himself through his ageless
>0 traditions:
>"How many dawns and sunset came
>Across the valley of the years
>Before your heart of sculptured flame
>Blazed through its galaxy of spears?
>Green spears that lift with one desire '
>To shield your heart of chiselled fire!"
>IHis verse forms must probe the dim caverns of the Nullarbor,
>must wander through the mid-day quiet of the b ~ h a,n d
>reflect triumphantly the electric colour of sundown burning
>on the purple hills. His song of liyht must be a sun-corroboree,
>his song of night a painting of the quiet of the nightwalks
>of the earth the sun must travel to regain the morning.
>Sr~prernely, this spirit is manifest in Ingamclls' Dark Cry:
>"Dark cry, claim the dark-shored Ialcc.
>Quicken your echoes round the hills. Dwell
>in, possessing, earth and sky. Take
>farewell.
>Engined with knowledge, as fast
>that very way the confident mind must push
>cry of a winging wild duck cast
>to the insatiable hush of the bush."
>17: EYES TO THE FUTURE.
>For one hundred and thirty years Australian poets have
>fought against the shackles of misconception. The story ol
>their fight is the story of the development of Australian literature
>(a story that must be told elsewhere). For one hundred
>
>Towards an Australian Culture by Kevin Gifford (Jindyworobak Publication,
>Melbourne 1944)
>
>Collected from http://www.reasoninrevolt.net.au/pdf/b000070.pdf on 24 Nov
>2005
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