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Lucy Treep Lucy Treep i(A142744 works by)
Gender: Female
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Works By

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1 The Pea-Pickers : An Introduction Lucy Treep , 2015 single work essay
— Appears in: Westerly , vol. 60 no. 2 2015; (p. 106-113)
1 [Essay] : The Pea-pickers Lucy Treep , 2013 single work essay
— Appears in: Reading Australia 2013-;

'Eve Langley’s first novel, The Pea-pickers (1942), has surprised and delighted readers since it was written. Douglas Stewart praised it as ‘the most original contribution to Australian literature since Tom Collins wrote Such is Life’ (31), and Norman Lindsay described it as ‘a book that will live’ (2). Before publication the manuscript shared the Bulletin’s S. H. Prior Memorial Prize in 1940, with The Battlers by Kylie Tenant and the ‘John Murtagh Macrossan lectures’ by Malcolm Henry Ellis. On reading the manuscript Frank Dalby Davison wrote, ‘It has the dew on it … It contributes something fresh to Australian literature. It is rare. I think it will be cherished’ (2). The predictions of Davison and his colleagues have proven to be accurate: twenty-first century readers still find this engaging novel ‘fresh’ and ‘original’, and enjoy the protagonist’s theatrical flouting of social conventions. Langley skilfully weaves together many strands in her vibrant text, and perhaps most successful is the humour that frequently pervades the narrative. This humour is often at the expense of the narrator, though rapid shifts in perspective and the wit and vigour of her voice urge the reader to laugh with Steve at the same time as we laugh at her.' (Introduction)

1 'Gold Leaf and Tinsel' : Theatricality and Performativity in Eve Langley's 'Bancroft House' Lucy Treep , 2012 single work criticism
— Appears in: Southerly , vol. 72 no. 1 2012; (p. 184-197)
'In the opening pages of Eve Langley's best-loved work, The Pea-Pickers (1942), Eve and her sister June adopt male names, showy masculine attire, and "[u]nder the dark interest of the travellers around [them]" board the train for Gippsland (11). The theatricality and performativity of "Steve's" actions in these pages is maintained at a high pitch throughout the novel and, in fact, throughout Langley's novelistic oeuvre. Steve (and Eve in the later novels set in New Zealand) is a highly theatrical character, and as such, her representations often suggest those acts and practices most typical of theatricality: "role-playing, illusion, false appearance, masquerade, facade, and impersonation" (Davis and Postlewait 4). The contradictory manifestations of excess and emptiness are frequently associated with the theatrical; theatricality is often defined as an excess of expressive means (that may need containment), but it is also commonly viewed in terms of an artificiality that invokes that which may not exist, or may not be true (Davis and Postlewait 4). In her well-known formulation of performativity, Judith Butler argues that repetition of a discourse actually produces the phenomena that it seeks to control (xii). In Langley's novels, the performativity of her narrator is expressed not just in speech acts but also in what Eve Kosofsky Sedgwick calls the "minimal, in fact non verbal, performative utterance" (xvii). (Author's abstract)
1 Archive of Desire : The Souvenir in Eve Langley's Australian Novels Lucy Treep , 2011 single work criticism
— Appears in: JASAL , Special Issue vol. 11 no. 1 2011; (p. 1-10)
'In the six novels that Langley sets in Australia, that is, the two published ones and her first four unpublished manuscripts, Langley's narrator Steve travels widely through the countryside of Victoria, as an itinerant field hand and self-styled rover. She regularly returns to her mother's house and on these visits home she invariably brings with her evidence of her adventures. In this essay I explore the nature and employment of these souvenirs. The souvenirs archive Steve's day-to-day life away from her mother's house, but in doing so, as distancing devices, they assert a reconfiguration of the social space of that house. This, then, raises questions regarding the social landscape both within and beyond the house.' (Author's abstract)
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