Spotlight on W.A. Writers single work   biography  
Issue Details: First known date: 1946 1946
AustLit is a subscription service. The content and services available here are limited because you have not been recognised as a subscriber. Find out how to gain full access to AustLit

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y The Black Swan : The Magazine of the Guild of Undergraduates of the University of Western Australia vol. 25 no. 1 October 1946 Z824943 1946 periodical issue 1946 pg. 5-10
  • Appears in:
    y Selected Prose of Dorothy Hewett Dorothy Hewett , Fiona Morrison (editor), Crawley : UWA Publishing , 2011 Z1775118 2011 selected work prose 'Dorothy Hewett was never fazed by her own gifts as a writer. Although best known as a playwright and poet, Hewett produced some outstanding works of prose.

    'Selected Prose of Dorothy Hewett offers readers new and old a stunning array of Hewett's writings on literature, theatre and politics. This collection is both an engaging way into Australian political history and activism, and an enlightening point of access to one of Australia's great writers.' (From the publisher's website.)
    Crawley : UWA Publishing , 2011
    pg. 41-45

Works about this Work

Leaving the Party : Dorothy Hewett, Literary Politics and the Long 1960s Fiona Morrison , 2012 single work criticism
— Appears in: Southerly , vol. 72 no. 1 2012; (p. 36-50)
'What political, cultural and rhetorical changes occurred between the publication of Dorothy Hewett's nostalgic essay on Kylie Tenant in Westerly in late 1960 (Hewett, "How Beautiful Upon the Mountains") and her strikingly negative literary obituary of Katherine Susannah Prichard in Overland in late 1969 (Hewett, "Excess of Love: The Irrecon - cilable in Katherine Susannah Prichard")? The first of these essays offered a forthright series of criticisms about Tenant's interest in stylistic experimentation and the decline of her rather more interesting socialist realism. The second essay delivered an equally forthright assessment of Prichard, Hewett's much-loved fellow West Australian woman writer and Communist, strongly condemning her deforming and persistent allegiance to the Communist Party in Australia and the Soviet Union and the socialist realist aesthetics mandated by them. Separated by only nine years, these two pieces of non-fiction present the contradictory literary and political positions that book-end Hewett's turbulent and productive Cold War 1960s, and indicate the nature and importance of the repudiation of Prichard as a springboard for Hewett's writing in the 1970s. Approached chronologically, Hewett's essays of the 1960s demonstrate the imbrication of politics and literary aesthetics in her work. Initially reproducing the partisan contours of the relationship between politics and literature familiar from the Left cultural debates of the 1930s, Hewett finds increasingly different answers for this debate's foundational questions about the function of art, the role of the socially engaged artist, the importance of realism and what to do or think about modernism.' (Author's abstract)
Leaving the Party : Dorothy Hewett, Literary Politics and the Long 1960s Fiona Morrison , 2012 single work criticism
— Appears in: Southerly , vol. 72 no. 1 2012; (p. 36-50)
'What political, cultural and rhetorical changes occurred between the publication of Dorothy Hewett's nostalgic essay on Kylie Tenant in Westerly in late 1960 (Hewett, "How Beautiful Upon the Mountains") and her strikingly negative literary obituary of Katherine Susannah Prichard in Overland in late 1969 (Hewett, "Excess of Love: The Irrecon - cilable in Katherine Susannah Prichard")? The first of these essays offered a forthright series of criticisms about Tenant's interest in stylistic experimentation and the decline of her rather more interesting socialist realism. The second essay delivered an equally forthright assessment of Prichard, Hewett's much-loved fellow West Australian woman writer and Communist, strongly condemning her deforming and persistent allegiance to the Communist Party in Australia and the Soviet Union and the socialist realist aesthetics mandated by them. Separated by only nine years, these two pieces of non-fiction present the contradictory literary and political positions that book-end Hewett's turbulent and productive Cold War 1960s, and indicate the nature and importance of the repudiation of Prichard as a springboard for Hewett's writing in the 1970s. Approached chronologically, Hewett's essays of the 1960s demonstrate the imbrication of politics and literary aesthetics in her work. Initially reproducing the partisan contours of the relationship between politics and literature familiar from the Left cultural debates of the 1930s, Hewett finds increasingly different answers for this debate's foundational questions about the function of art, the role of the socially engaged artist, the importance of realism and what to do or think about modernism.' (Author's abstract)
Last amended 1 Nov 2005 13:12:08
Newspapers:
    Powered by Trove
    X