Highlighting forgotten, neglected, abandoned, forsaken, unrecognized, unacknowledged, overshadowed, out-of-fashion, under-translated writers. Has no one read your books? You are in good company.

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These writers are famous in some part of the internet or the world. Some may be famous in your own family or in your own mind.

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Posts tagged australia

Australian Writers No One Reads: George Egerton


The second in a series of guest posts by James Morrison on Australian writers. James blogs as Caustic Cover Critic and publishes fine forgotten books under his Whisky Priest imprint.

Nobody reads George Egerton (born Mary Chavelita Dunne, 1859-1945). Born in Melbourne, and raised there, in New Zealand and Chile, she later claimed Ireland as her spiritual home. Early plans to become an artist were halted by the death of her mother: instead she trained as a nurse, and then eloped to Norway with a violently alcoholic bigamist, living there until he wisely died two years later. But it was in Scandinavia that her writing began to blossom—she was fascinated by Strindberg and Ibsen, and became both the lover and the first English-language translator of Knut Hamsun.

Egerton was an early contributor to The Yellow Book, and her first story collection, Keynotes, was a scandalous success. Punch lampooned her as “Borgia Smudgiton.” A leading and active exponent of the ‘New Woman’ lifestyle, Egerton (“Chav” to her friends, numerous lovers and various husbands) was especially good at rich, vivid and sometimes purple prose.

Ironically enough it was domesticity that ruined her talent. When she settled down as a wife and mother, her prose and popularity collapsed. Though she wrote plays to the end of her life, Egerton never recaptured the successes of her first two short books of stories.

From “Virgin Soil,” in her second collection, Discords, a new bride is being told the facts of life by her mother:

The bridegroom is waiting in the hall; with a trifle of impatience he is tracing the pattern of the linoleum with the point of his umbrella. He curbs it and laughs, showing his strong white teeth at the remark of his best man; then compares the time by his hunter with the clock on the stairs. He is florid, bright-eyed, loose-lipped, inclined to stoutness, but kept in good condition; his hair is crisp, curly, slightly grey; his ears peculiar, pointed at their tops like a faun’s. He looks very big and well-dressed, and, when he smiles, affable enough.

Upstairs a young girl, with the suns of seventeen summers on her brown head, is lying with her face hidden on her mother’s shoulder; she is sobbing with great childish sobs, regardless of reddened eyes and the tears that have splashed on the silk of her grey, going-away gown.

(photo via NYPL)

Australian Writers No One Reads: Peter Kocan

cartoon by Chris Grosz

The first in a series of guest posts by James Morrison on Australian writers. James blogs as Caustic Cover Critic and publishes fine forgotten books under his Whisky Priest imprint.

No one outside Australia reads Peter Kocan, and even in Australia his past often overshadows his literary achievements. In 1966, when Kocan was a 19-year-old factory worker, his history of mental illness came to a head with a determination to be remembered for murdering someone important. He chose Arthur Calwell, leader of Labor, the more left-leaning of Australia’s two main political parties, who was campaigning in the run-up to a federal election.

Calwell had just finished addressing a Sydney rally against conscription for the war in Vietnam, and was leaving in his car. When Kocan approached him Calwell began to wind down his window, assuming the young man was a well-wisher. Instead, Kocan produced a gun and pulled the trigger.

newspaper photograph

Australian politics and crime novelist Shane Maloney writes:

The bullet, fired from a sawn-off rifle, shatters the window of [Calwell’s] car, spattering him with broken glass and bullet fragments. His would-be assassin drops the gun and runs away. He is chased, caught and overpowered without further incident. […] The Opposition leader, in shock and bleeding from the face, has narrowly escaped death. Deflected on impact with the window, the bullet has lodged in the lapel of his coat. The gunman is declared criminally insane, sentenced to life imprisonment and incarcerated in a psychiatric prison. His victim sends him a letter of forgiveness and returns to the election campaign, in which national security is a major issue. When Labor is thrashed at the polls, he is compelled to cede the leadership to his younger, charismatic deputy. […]In the asylum, a fellow inmate introduced [Kocan] to the works of Rupert Brooke. He began to study literature, philosophy and history, and to write poetry. Two of his collections were published while he was still locked up, and his subsequent work draws on his experience of psychosis and imprisonment. [via]

"The shooting logic was in the air at the time," Kocan has explained, referring to the assassinations of Ngo Dinh Diem, John F. Kennedy, Hendrik Verwoerd and Malcolm X. "Unfortunately, we are creatures who pick up on what’s around. If it had been a different era, my actions may have been different. Insofar as I had any thoughts about what would happen after the shooting,I assumed I’d be cut down in a hail of bullets."

Released in 1976, Kocan continued to write poetry, and also began writing a fictionalised version of his life in the brilliant novellas The Treatment (1980), The Cure (1983) and the novel Fresh Fields (2004). These books have earned him numerous awards, including two from the News South Wales Premier’s Literary Awards and one from the Queensland Premier’s Literary Awards—all premiers who belonged to Calwell’s Labor Party.


The Social Workers (a poem by Peter Kocan)

Hyenas will encourage a stampede

To see which ailing zebra falls behind.

They’re nature’s social workers, and inclined

To feel most altruistic when they feed.


Top image: Chris Grosz cartoon
Newspaper photograph from CC Mosman Library, New South Wales
Photo of Peter Kocan by Vincent Long

"Words were not the servants of life, but life, rather, was the slave of words." — Patrick White (whom no one reads), Voss

(Image: Sidney Nolan’s cover design.)