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Michael Wilding Michael Wilding i(A16165 works by) (a.k.a. R. M. Wilding)
Born: Established: 1942 Worcester, Worcestershire,
c
England,
c
c
United Kingdom (UK),
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Western Europe, Europe,
;
Gender: Male
Arrived in Australia: 1963
Heritage: English
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Works By

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1 Untitled Michael Wilding , single work review
— Review of Images of Society and Nature : Seven Essays on Australian Novels 1971 selected work criticism
1 Untitled Michael Wilding , single work review
— Review of Mr Butterfry and Other Tales of New Japan Hal Porter , 1970 selected work short story
1 Epidemic Times Michael Wilding , 2023 single work review
— Appears in: Quadrant , June vol. 67 no. 6 2023; (p. 89-90)

— Review of Plague Searchers Rob Wills , 2022 series - author novel
'Plague Searchers is a two-volume novel set in the London plague of 1665.'
1 y separately published work icon Cover Story Michael Wilding , Melbourne : Arcadia , 2022 25779598 2022 single work novel

'‘Someone’s trying to burn me down,’ Paige Turner publisher tells Plant. Or are they just setting fire to a stack of Illiberal Liberals? And how do Turner’s regular trips to India, Asia and the Middle East fit in, if at all?' (Publication summary)

1 y separately published work icon Find Me My Enemies Michael Wilding , Melbourne : Arcadia , 2022 25779503 2022 single work novel

'Is James Slater really a target of a security service operation against old radicals, or is he just paranoid? Or both? Is his performance artist partner part of the plot? Or his Valley of the Weed girlfriend?' (Publication summary)

1 1 y separately published work icon Find Me My Enemies [and] Cover Story Michael Wilding , Melbourne : Arcadia , 2022 25779436 2022 selected work novel
1 Remembering Laurie Hergenhan Michael Wilding , 2021 single work essay
— Appears in: I’m Listening Like the Orange Tree : In Memory of Laurie Hergenhan 2021; (p. 175-180)
1 Questions of Truth and Integrity Michael Wilding , 2021 single work review
— Appears in: Quadrant , November vol. 65 no. 11 2021; (p. 79-82)

— Review of Bench and Book Nicholas Hasluck , 2021 single work autobiography
'Nicholas Hasluck has been a significant and engaging novelist on the Australian literary scene for half a century now. His achievements, from Quarantine and The Bellarmine Jug to Dismissal and The Bradshaw Case are well attested. His books are not only a good read, but they have something to say. In part this is the result of his having led a double life. He has not only been a prolific writer, author of some thirty volumes of fiction, poetry and essays, but he has also worked for his living. He has encountered the real world. He has not lived on a succession of government grants and hand-outs, on that treacherous largesse that has insulated so many litterateurs from normative human experience and left them with little to write about.'  (Introduction)
1 1 y separately published work icon The Midlands, and Leaving Them Michael Wilding , Beeston : Shoestring Press (UK) , 2021 22108204 2021 selected work short story
1 1 y separately published work icon Marcus Clarke : Novelist, Journalist and Bohemian Michael Wilding , North Melbourne : Australian Scholarly Publishing , 2021 21934899 2021 multi chapter work criticism

'Michael Wilding’s essays on Marcus Clarke’s life and works, from his schooldays at Highgate with Gerard Manley Hopkins to membership of the Melbourne Bohemian Yorick Club with Adam Lindsay Gordon and Henry Kendall, and his associations with the Chief of Police Captain Frederick Standish, the Irish nationalist politician and political prisoner Sir Charles Gavan Duffy, and the President of the Melbourne Public Library Sir Redmond Barry.

'Essays on His Natural Life, Clarke’s classic novel of the convict system; on Chidiock Tichborne the historical romp about the Catholic conspiracy to replace Elizabeth I on the English throne with Mary, Queen of Scots, and spymaster Sir Francis Walsingham’s espionage operation to expose it; on Old Tales of a Young Country about the early years of European settlement and the brutalities of the convict system; on his journalism ranging from exposés of the lives of Melbourne’s down and outs and homeless, to reminiscences of the Theatre Royal’s Café de Paris, and the spoof account of the Melbourne Cup written by aid of a camera obscura; on his literary essays, reviews and obituaries of Bret Harte, Honoré de Balzac, Charles Dickens and Adam Lindsay Gordon; and on his short stories, ranging from realistic accounts of his up-country days on sheep stations and mining towns in the Wimmera, and speculations on the alternative futures of what life might have been, to sensational tales of Gothic horror, crime mystery, fantasies of opium dreams and mesmeric trances, and sophisticated literary experiment in his account of taking hashish, ‘Cannabis Obscura’ and the premature post-modernism of ‘The Author Haunted by His Own Creations’.'

‘This is scholarly and very entertaining.’
– Sydney Morning Herald

Source : publisher's blurb

1 The Poetry of Adam Lindsay Gordon Michael Wilding , 2020 single work essay
— Appears in: Quadrant , September vol. 64 no. 9 2020; (p. 102-104)
'In the 150 years since Adam Lindsay Gordon’s death in 1870 his reputation as a poet rose to great heights, celebrated as the “National Poet of Australia” with his bust in Westminster Abbey in 1934, only to decline to neglect and comparative obscurity. His first published book, The Feud (1864), was a poem in the manner of the Scots border ballads. Popularised in the nineteenth century by Sir Walter Scott, the ballads were a major inspiration to Gordon. His verse continued to appear anonymously and pseudonymously for the next five years when, as Marcus Clarke recalled in his preface (1876) to the reissue of Gordon’s Sea Spray and Smoke Drift (1867), “he discovered one morning that everybody knew a couplet or two of ‘How We Beat the Favourite’”. Although set in England, its account of a contemporary steeplechase proved immediately popular in Australia. “Within a few days every sporting man in Melbourne knew it by heart,” Sir Frank Madden confirmed in Edith Humphris and Douglas Sladen’s Adam Lindsay Gordon and his Friends in England and Australia (1912): “We were all horsemen then, and looked upon steeplechasing as the acme of the sport.”'
1 Books and Their Survival Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 186-189)
'Back half a century ago I was lecturing at the University of Birmingham. Richard Hoggart, one of the professors there, was asked by UNESCO to provide a report on Cultural Policy in Great Britain. Having better things to do he passed it on to me and another assistant lecturer. I thought it might be a way to escape the university into the world of arts and culture and global travel. ‘Well, it’s not deathless prose,’ Hoggart commented when we completed the report, but UNESCO liked it and published it. Hoggart got the job of Director-General of UNESCO. I continued teaching in universities for another thirty years.' (Introduction)
1 Ghost Story Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 183-185)
'I have never seen a ghost. But one of the first stories I wrote was about a ghost. It was the first story I ever had published – in the school magazine, it was that long ago. Over the years it has recurred again and again, one way and another. Hauntingly, it might be said.' (Introduction)
1 Who Do You Think You Are Writing For? Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 179-182)
'Invited to a conference to discuss the topic of ‘Writing for new and different audiences’, I could only say that, as a novelist and short story writer, with my own fiction I have rarely written for an audience or with an audience in mind. The responsibility of writers is to their art. Writers write what they are driven to or inspired to or motivated to write. Writing is a vocation, a calling, a mission. The writer endeavours to tell the truth. To evoke the world in all its richness and complexity and contradictions. A vision is a vision, not something to be tailored or trimmed or compromised by concerns about audience reception. As a young Chinese student said to me, to write what an audience expects is to fail to offer anything new. ‘Stale water,’ was how she put it.' (Introduction)
1 Advertising Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 174-178)
'Advertising is so much a part of our daily lives now that we rarely think about it. Except to press mute on the television remote control when advertisements appear. But that is just a matter of shutting them out, not of analysing them. We used to be more analytical. I remember my schoolteachers pointing out how advertising slogans could be manipulative and of questionable honesty. A fellow student of mine at college told me how he had spent thirty minutes gazing at shelves of toothpaste, in order to work out – and resist – those that were using subliminal slogans and devices to persuade him to buy them.' (Introduction)
1 The Surveillance Society Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 169-173)
'The panopticon was Jeremy Bentham’s eighteenth-century proposal for a prison, architecturally devised so that one warder could from a single position look into every cell. Of course, the warder would not be looking into every cell simultaneously, or into any cell all of the time. But there was no way that the individual prisoner could know whether the warder was watching or not. It was a control mechanism that instilled a climate of fear.' (Introduction)
1 Libraries Yet Once More Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 163-168)
'Over the last decade university libraries have been systematically removing books from their shelves. Various reasons have been given. The University of Western Sydney dumped consignments of them as landfill, claiming they were surplus to requirements or infested with silverfish. Other libraries sold off or gave away allegedly duplicate copies on trestle tables at their entrance. The University of Sydney library removed half a million copies claiming that it had run out of shelf space and that electronic journals and digital books meant hard copies were no longer needed. Anything not borrowed in the previous five years was consigned to an off-campus deposit library.' (Introduction)
1 The Purge of Our Libraries Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 156-162)
'When I was an undergraduate my tutor used to look through the lecture list to see what was worth attending. ‘Oh, no, he’s no good. Oh, no, you wouldn’t get much out of that. No, I don’t think you’d want to waste time there,’ he would say, adding, ‘I think you’d best just go along to the library.’' (Introduction)
1 Father Brown and The Man Who Knew Too Much Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 152-155)
'Detective fiction is a genre that takes a huge range of different styles and approaches. With Father Brown, G. K. Chesterton gave detective fiction an unforgettable character and a persuasive rationale for his skills. Conan Doyle’s Sherlock Holmes presented a cerebral, analytical, intuitive intellectual, humanized by association with his friend Dr Watson. With Father Brown Chesterton offered not a thinking machine with an arcane knowledge of poisons, tobacco ash and other bizarre items that can be decoded as clues, but a mild-mannered priest whose knowledge of crime had been acquired in the course of his daily work. As Father Brown says to the arch villain Flambeau in ‘The Blue Cross’, ‘Has it never struck you that a man who does next to nothing but hear men’s real sins is not likely to be wholly unaware of human evil?’' (Introduction)
1 Crime Fiction Michael Wilding , 2019 single work essay
— Appears in: Wild about Books : Essays on Books and Writing 2019; (p. 139-151)
'Crime fiction is a label that covers a huge variety of literary production. Those of us who read so much of it usually have distinct preferences. I’m not so keen on those books, or television series, that get deeply into post- mortem dissections and dismemberments. I don’t like novels of serial killers or child abuse. I prefer private-eyes to police procedure, though I enjoy Colin Dexter’s Morse and Peter Robinson’s Banks and Ann Cleeves’ Vera and Garry Disher’s Challis and Destry series. And Arthur Upfield’s Bony series, even if they are now deemed to be politically incorrect. But I can also enjoy cosy country-house mysteries. And espionage and conspiracy I lap up. In fact, I can read most of it.' (Introduction)
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