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y separately published work icon Lucy Cooper : An Australian Tale single work   novel  
First known date: 1846 Issue Details: First known date: 1846... 1846 Lucy Cooper : An Australian Tale
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Contents

* Contents derived from the Cook, Belconnen area, Canberra, Australian Capital Territory,:Mulini Press , 1992 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Lucy Cooper : An Australian Tale : Introduction : John Lang and Lucy Cooper, Victor Crittenden , single work criticism biography (p. i-vi)

Publication Details of Only Known VersionEarliest 2 Known Versions of

First known date: 1853
Serialised by: The Illustrated Sydney News 1853 newspaper (53 issues)
Notes:
Published anonymously in the Illustrated Sydney News in 1853.
Notes:
The first illustrated printing of this serial.
      .
      Description: illus.
First known date: 1846
Serialised by: Sharpe's London Magazine periodical
Notes:
Originally published anonymously in Sharpe's London Magazine in 1846.
      .

Works about this Work

Colonial Australian Detectives, Character Type and the Colonial Economy Ken Gelder , Rachael Weaver , 2016 single work criticism
— Appears in: New Directions in Popular Fiction : Genre, Distribution, Reproduction 2016; (p. 43-66)

'Crime fiction started early in Australia, emerging out of the experiences of transportation and the convict system at the beginning of the nineteenth century. The first Australian (that is, locally published) novel is generally agreed to be Quintus Servinton (1832), written by Henry Savery, a convicted forger who was transported to Van Diemen’s Land (Tasmania) in 1825 and—convicted once more of forging financial documents—died as a prisoner in Port Arthur in 1842. Quintus Servinton is a kind of semi-autobiographical fantasy that imagines its entrepreneurial protagonist’s redemption: surviving his conviction and jail sentence in order to return to England with his beloved wife. We can note here that it does four important things in terms of the future of crime narratives in Australia. Firstly, it presents colonial Australia as a place already defined by an apparatus of policing, legal systems and governance, where ‘justice’ can at least potentially work to restore an individual’s status and liberty: for example, through convict emancipation. Secondly, it insists that the experience of incarceration and punishment is crucial to that character’s reintegration into respectable life: ‘the stains that had marked him’, we are told, ‘were removed by the discipline he had been made to endure’ (Savery, vol. 3, ch. XIII, n.p.). Thirdly, the novel ties the colonial economy to financial investment and growth on the one hand, and fraud or forgery on the other. These apparent opposites are folded together at the moment of settlement to the extent that the phrase ‘forging the colonial economy’ is a kind of potent double entendre. Prominent transported forgers included the colonial artists Thomas Whatling (transported 1791), Joseph Lycett (transported 1814), Thomas Wainewright (transported 1837) and of course Henry Savery himself. In Savery’s novel, Quintus Servinton is ‘thunderstruck’ when someone explains the conventional distinction between legitimate financial deals and forgeries: ‘You surely do not mean, Sir, it can be a forgery, to issue paper bearing the names of persons who never existed….If that be the case…many commercial men innocently issue forgeries every day of their lives’ (vol. 1, ch. III, n.p.). This takes us to the fourth point: that crime fiction in Australia is also about imposture, where characters do indeed adopt ‘the names of persons who never existed’. The mutability of colonial characters—the question of how real (authentic) or fictional (fraudulent) they might be, and the impacts this has socially and fiscally on the colonial scene—soon becomes a tremendous problem for emergent systems of policing and governance in Australia. As Janet C. Myers notes, ‘the linkage between emigration and crime forged through convict transportation continued to evoke anxieties….The atmosphere in which such anxieties were nurtured was one of rapid social mobility and shifting identities in the Antipodes’ (2009, p. 83).' (Introduction)

Australia's Larrikin Writer John Lang : Chapter Three : The Briefless Barrister Victor Crittenden , 2001 extract biography (John Lang : Australia's Larrikin Writer : Barrister, Novelist, Journalist and Gentleman)
— Appears in: Margin , November no. 55 2001; (p. 27-44)
Colonial Books that are Made to Order Laurie Clancy , 1993 single work review
— Appears in: The Weekend Australian , 20-21 March 1993; (p. rev 6)

— Review of For Her Natural Life Eliza Winstanley , 1876 single work novel ; Lucy Cooper : An Australian Tale John Lang , 1846 single work novel
Lucy Cooper : An Australian Tale : Introduction : John Lang and Lucy Cooper Victor Crittenden , 1992 single work criticism biography
— Appears in: Lucy Cooper : An Australian Tale 1992; (p. i-vi)
Australia for Family Reading : The Novels of Eliza Winstanley Eric Irvin , 1978 single work criticism
— Appears in: Southerly , June vol. 38 no. 2 1978; (p. 207-222)
Colonial Books that are Made to Order Laurie Clancy , 1993 single work review
— Appears in: The Weekend Australian , 20-21 March 1993; (p. rev 6)

— Review of For Her Natural Life Eliza Winstanley , 1876 single work novel ; Lucy Cooper : An Australian Tale John Lang , 1846 single work novel
Lucy Cooper : An Australian Tale : Introduction : John Lang and Lucy Cooper Victor Crittenden , 1992 single work criticism biography
— Appears in: Lucy Cooper : An Australian Tale 1992; (p. i-vi)
Australia for Family Reading : The Novels of Eliza Winstanley Eric Irvin , 1978 single work criticism
— Appears in: Southerly , June vol. 38 no. 2 1978; (p. 207-222)
Australia's Larrikin Writer John Lang : Chapter Three : The Briefless Barrister Victor Crittenden , 2001 extract biography (John Lang : Australia's Larrikin Writer : Barrister, Novelist, Journalist and Gentleman)
— Appears in: Margin , November no. 55 2001; (p. 27-44)
Colonial Australian Detectives, Character Type and the Colonial Economy Ken Gelder , Rachael Weaver , 2016 single work criticism
— Appears in: New Directions in Popular Fiction : Genre, Distribution, Reproduction 2016; (p. 43-66)

'Crime fiction started early in Australia, emerging out of the experiences of transportation and the convict system at the beginning of the nineteenth century. The first Australian (that is, locally published) novel is generally agreed to be Quintus Servinton (1832), written by Henry Savery, a convicted forger who was transported to Van Diemen’s Land (Tasmania) in 1825 and—convicted once more of forging financial documents—died as a prisoner in Port Arthur in 1842. Quintus Servinton is a kind of semi-autobiographical fantasy that imagines its entrepreneurial protagonist’s redemption: surviving his conviction and jail sentence in order to return to England with his beloved wife. We can note here that it does four important things in terms of the future of crime narratives in Australia. Firstly, it presents colonial Australia as a place already defined by an apparatus of policing, legal systems and governance, where ‘justice’ can at least potentially work to restore an individual’s status and liberty: for example, through convict emancipation. Secondly, it insists that the experience of incarceration and punishment is crucial to that character’s reintegration into respectable life: ‘the stains that had marked him’, we are told, ‘were removed by the discipline he had been made to endure’ (Savery, vol. 3, ch. XIII, n.p.). Thirdly, the novel ties the colonial economy to financial investment and growth on the one hand, and fraud or forgery on the other. These apparent opposites are folded together at the moment of settlement to the extent that the phrase ‘forging the colonial economy’ is a kind of potent double entendre. Prominent transported forgers included the colonial artists Thomas Whatling (transported 1791), Joseph Lycett (transported 1814), Thomas Wainewright (transported 1837) and of course Henry Savery himself. In Savery’s novel, Quintus Servinton is ‘thunderstruck’ when someone explains the conventional distinction between legitimate financial deals and forgeries: ‘You surely do not mean, Sir, it can be a forgery, to issue paper bearing the names of persons who never existed….If that be the case…many commercial men innocently issue forgeries every day of their lives’ (vol. 1, ch. III, n.p.). This takes us to the fourth point: that crime fiction in Australia is also about imposture, where characters do indeed adopt ‘the names of persons who never existed’. The mutability of colonial characters—the question of how real (authentic) or fictional (fraudulent) they might be, and the impacts this has socially and fiscally on the colonial scene—soon becomes a tremendous problem for emergent systems of policing and governance in Australia. As Janet C. Myers notes, ‘the linkage between emigration and crime forged through convict transportation continued to evoke anxieties….The atmosphere in which such anxieties were nurtured was one of rapid social mobility and shifting identities in the Antipodes’ (2009, p. 83).' (Introduction)

Last amended 6 Sep 2010 12:30:52
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