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Ambivalent Mobilities in the Pacific

“Savagery” and “Civilization” in the Australian Interwar Imaginary

Nicholas Halter

interwar period with a particular focus on the middlebrow imagination. I argue that travel literature often appealed to the middlebrow in content and style, and the Pacific Islands were a middle-brow setting. In doing so, I explore Australian

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Loving Shakespeare

Anne Tyler's Vinegar Girl and the Hogarth Shakespeare Project

Elizabeth Rivlin

herself and them. The generating of readerly communities based in affect is a main priority of the middlebrow fiction with which Tyler has been associated and is relevant more broadly to the Random House/Crown/Chatto & Windus Hogarth Shakespeare series

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Making Friends of the Nations

Australian Interwar Magazines and Middlebrow Orientalism in the Pacific

Victoria Kuttainen and Sarah Galletly

middlebrow sources. Drawing on, and extending, Christina Klein’s notion of “middlebrow orientalism” which she develops in her analysis of the way American middlebrow culture “churned out a steady stream of stories, fiction and non-fiction that took Asia and

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Becoming “Pacific-Minded”

Australian Middlebrow Writers in the 1940s and the Mobility of Texts

Anna Johnston

which to raise serious questions about society, politics, and history in an accessible form, aimed at a general, educated reader. Travel writing is a quintessentially middlebrow form, as Steve Clark argues 18 —that is, it falls between high literature

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Print Culture, Mobility, and The Pacific, 1920–1950

Victoria Kuttainen and Susann Liebich

framework of the middlebrow is well suited for investigations of the confluence of travel, mobility, and print culture between 1920 and 1950. The middlebrow, a cultural category that signaled familiarity with high cultural forms for mass audiences and

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The Vanishing Hero

Men and Modernity in Rosamond Lehmann's The Weather in the Streets

Judy Simons

When Rosamond Lehmann died in 1990, her obituary notices were obsessive in unearthing links between her fiction and her personal life. In particular, obituary writers seemed fixated on the men in Lehmann’s life, on her passionate affairs and their equally intense traumatic collapse. As Hermione Lee pointed out in The Times, ‘No man would get obituaries like’ these.1 Women writers always run the risk of being judged and classified according to gendered criteria, especially when, as in Lehmann’s case, their work conforms to the literary models that have traditionally provided the staple diet of middlebrow ‘women’s fiction’. It is, however, more helpful to see Lehmann’s novels of the 1930s not so much as an autobiographical journey or a transparent reflection of her erotic career but as a register of the emotional climate of her times. The self-conscious and subversive deployment of the romance format in a work such as The Weather in the Streets (1936) serves to interrogate the relationship between sexualities and textualities, by exploring the artistic and social divisions characteristic of the period, where the failure of grand narratives exposes the linked crises of gender and aesthetics that absorbed many writers of that generation. Addressing this very issue, Lehmann regretted the ‘androgynous disguises, the masculine masks’ adopted by modern women in order to cope with a world in collapse, a ‘general post-war fissuring and crackup of all social and moral structures’.

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Worldly Tastes

Mobility and the Geographical Imaginaries of Interwar Australian Magazines

Victoria Kuttainen and Susann Liebich

approach with the work of Canadianists Faye Hammill and Michelle Smith in Magazines, Travel, and Middle-brow Culture , but also a thematic interest in the linkage between magazines, mobility, and aspirational culture. 9 Rather than travel per se, however

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Mobile Representations of a “New Pacific”

A Comment

Frances Steel

middlebrow, rendered a world of volitional mobility for the aspirational globe-trotter, tourist, or traveler. This had a particular gendered power. While recent collaborative scholarship has charted the appearance of the “modern girl” or “modern woman” across

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Shakespeare and the Modern Novel

Graham Holderness

explore how both the novel and the Hogarth series seek to create affective ‘middlebrow’ communities that purport to keep Shakespeare alive through love. This analysis helps to clarify the nature of the Hogarth Shakespeare Project as a middlebrow publishing

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A Journey to Australia

Travel, Media, and the Politics of Representation

Helen Bones

material presented in middlebrow magazines offers a unique angle on the way that “the Pacific” was presented to Australian audiences, reframing scholarly ideas that Westerners’ engagement with the Pacific was largely based on fantasy. These magazines sit at