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Contents
- An Ogre Up-to-Date, single work children's fiction children's (p. 17-47)
- Gum Leavesi"I asked the red gum tree:", single work poetry (p. 49)
-
The Butcher and the Buccaneeri"Now strike the wild piano, and please give attentive ear",
single work
poetry
humour
(p. 53)
Note: Written as: (By Captain Cook)
- The Convalescence of Taffie Farndon, single work children's fiction humour children's (p. 67-88)
-
Johnnie and I are Outi"We've shut the door of the playhouse, there sounds no call or shout,",
single work
poetry
(p. 91)
Note: Written as: (By the Little Laureate)
- Two Doorsi"There was a young boy at North Shore", single work poetry (p. 100)
- Told in the Wattle Scrub, single work children's fiction children's (p. 108-129)
-
A Trembling Stari"'There is my little trembling star,' she said.",
single work
poetry
(p. 133-137)
Note: Written as: (By the Little Laureate)
- Content of the Kangaroo, single work children's fiction children's (p. 141-147)
- Somebody's Darlingi"A broken nose and a battered face", single work poetry (p. 148)
- Court of Entertainers, single work children's fiction children's humour (p. 150-222)
- Walking to Schooli"Now I am five, my father says", single work poetry children's (p. 223-224)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
She Rides Astride : Mateship, Morality and the Outback-Colonial Girl
2013
single work
criticism
— Appears in: Australasian Journal of Victorian Studies , vol. 18 no. 1 2013; (p. 28-39)'This article focuses on the representation of girlhood, gender and mateship particular to Australia, and to a lesser extent New Zealand, within the context of an emerging nationalism, social change and political upheaval. In it, I apply an illustrator’s perspective to interrogating the cultural significance of Mary Grant Bruce’s iconic outback heroine, Norah of Billabong Station. By comparatively examining Norah’s sequential representation in the narrative text, and the illustrations produced by John MacFarlane, I argue Bruce and her little-known, and rarely discussed immigrant illustrator combined to create an ideal and national type that was counter to anything that had been created for colonial girl readers before.' (Author's abstract)
-
She Rides Astride : Mateship, Morality and the Outback-Colonial Girl
2013
single work
criticism
— Appears in: Australasian Journal of Victorian Studies , vol. 18 no. 1 2013; (p. 28-39)'This article focuses on the representation of girlhood, gender and mateship particular to Australia, and to a lesser extent New Zealand, within the context of an emerging nationalism, social change and political upheaval. In it, I apply an illustrator’s perspective to interrogating the cultural significance of Mary Grant Bruce’s iconic outback heroine, Norah of Billabong Station. By comparatively examining Norah’s sequential representation in the narrative text, and the illustrations produced by John MacFarlane, I argue Bruce and her little-known, and rarely discussed immigrant illustrator combined to create an ideal and national type that was counter to anything that had been created for colonial girl readers before.' (Author's abstract)
