AustLit logo
y separately published work icon The Enchanted Forest single work   children's fiction   children's  
Issue Details: First known date: 1921... 1921 The Enchanted Forest
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      A. and C. Black ,
      1921 .
      Extent: 93 p., [30] leaves of platesp.
      Edition info: Also released in the same year as a standard edition.
      Limited edition info: Limited edition of 500 copies.
      Description: illus. (some col.).
      Reprinted: 1925
    • London,
      c
      England,
      c
      c
      United Kingdom (UK),
      c
      Western Europe, Europe,
      :
      Sydney, New South Wales,: Angus and Robertson ,
      1981 .
      Extent: 105p.
      Description: illus. (some col.)
      Reprinted: 1982 , 1983 , 1986 , 1987 , 1991
      ISBN: 0207144079

Works about this Work

The Disruption Of Fairyland : “Fairies Had Never Known How To Cry Until Then” Anita Callaway , 2013 single work criticism
— Appears in: Australasian Journal of Victorian Studies , vol. 18 no. 1 2013; (p. 17-27)

'This article considers the rise and fall of Ida Rentoul Outhwaite’s antipodean fairyland, her pictorial alternative to the masculinist vision of Australia at the nominal end of its colonial thraldom to Britain. Unlike their mischievous and anachronistic antecedents from Victorian Britain, Outhwaite’s fairies were both virtuous and up-to-date, presenting an idealised picture of how post-federation Australia might have been, had it been left in girlish hands. Outhwaite not only gave Australian girls entrée to a modern and serene femocracy, but offered her contemporaries a practical alternative to the closed-shop of traditional landscape painting. However, the gendered integrity of Outhwaite’s fairyland was short-lived. Her images progressively show marauding boys disrupting its harmony, much as their colonising fore-fathers had callously disrupted Terra Australis. Just as these fanciful episodes may be considered visual metaphors for the social oppression of women and even for the bully-boy ruthlessness of colonisation itself, the same images may also figuratively describe the eventual appropriation by conservative male painters of this feminine art speciality and its subsequent erasure from the orthodox history of Australian visual culture.' (Author's abstract)

Untitled Dinny Culican-Ward , 1982 single work review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , July no. 84 1982; (p. 29-30)

— Review of The Enchanted Forest Grenbry Outhwaite , 1921 single work children's fiction
Untitled Dinny Culican-Ward , 1982 single work review
— Appears in: Reading Time : The Journal of the Children's Book Council of Australia , July no. 84 1982; (p. 29-30)

— Review of The Enchanted Forest Grenbry Outhwaite , 1921 single work children's fiction
The Disruption Of Fairyland : “Fairies Had Never Known How To Cry Until Then” Anita Callaway , 2013 single work criticism
— Appears in: Australasian Journal of Victorian Studies , vol. 18 no. 1 2013; (p. 17-27)

'This article considers the rise and fall of Ida Rentoul Outhwaite’s antipodean fairyland, her pictorial alternative to the masculinist vision of Australia at the nominal end of its colonial thraldom to Britain. Unlike their mischievous and anachronistic antecedents from Victorian Britain, Outhwaite’s fairies were both virtuous and up-to-date, presenting an idealised picture of how post-federation Australia might have been, had it been left in girlish hands. Outhwaite not only gave Australian girls entrée to a modern and serene femocracy, but offered her contemporaries a practical alternative to the closed-shop of traditional landscape painting. However, the gendered integrity of Outhwaite’s fairyland was short-lived. Her images progressively show marauding boys disrupting its harmony, much as their colonising fore-fathers had callously disrupted Terra Australis. Just as these fanciful episodes may be considered visual metaphors for the social oppression of women and even for the bully-boy ruthlessness of colonisation itself, the same images may also figuratively describe the eventual appropriation by conservative male painters of this feminine art speciality and its subsequent erasure from the orthodox history of Australian visual culture.' (Author's abstract)

Last amended 21 Sep 2006 12:53:31
Newspapers:
    Powered by Trove
    X