(This is republished from The Conversation and written by Stephen Knight
Honorary Research Professor, University of Melbourne
Stephen Knight, University of Melbourne
Most countries produce crime fiction, but the versions vary according to national self-concepts. America admires the assertive private eye, both Dashiell Hammett’s late 1920s Sam Spade and the nearly as tough modern feminists, such as Sara Paretsky. Britain prefers calm mystery-solvers, amateurs like Hercule Poirot or Lord Peter Wimsey or sensitive police like Ian Rankin’s Edinburgh-based John Rebus. The French seem to favour semi-professionals who are distinctly dissenting – in 1943 Léo Malet’s Nestor Burma stood up to Nazi occupiers nearly as overtly as to Paris criminals.
Australia’s rich and varied tradition of crime fiction and detectives, though little-known and more rarely described, reveals a range of national myths, fantasies, and even elements of truth-telling about a country whose origin lay in convictions for crime.
The first Australian crime novel appeared in 1818, but production has been uneven. Most mysteries have been published here in the period since 1980, with substantial local publicity and reviewing. Before then, locally-written and Australia-set mysteries usually arrived from England, asserting colonial authority, and then banning American publishers through an “International Market Agreement”.
Writers sent manuscripts off to London, and a hundred or so hardbacks would arrive for local libraries, with almost no publicity and little impetus to develop the form here. But things changed with an American challenge to the “Agreement” in 1976 and the waning influence of Britain in general. In 1980 Peter Corris’s The Dying Trade began a flow of local productions – some from English firms now based here, like Allen and Unwin, who produced Jennifer Rowe with their Tolkien earnings.
Back at the start, transportation was a natural subject: in the first book of all, Thomas Wells’ Michael Howe, The Last and Worst of the Tasmanian Bushrangers (1818), Howe is a real escaped convict turned bushranger, with fictionally exaggerated adventures. Another theme was the wrongfully-convicted man like Quintus Servinton (1831) by Henry Savery.
The strongest convict novel is The Adventures of Ralph Rashleigh: he experiences harsh imprisonment, then escapes to live with bushrangers, and then mostly genial Indigenes: written in 1845, probably by ex-convict James Tucker, the novel was not published for over 80 years.
Criminal threats to free settlers were central to Tales of the Colonies (1843) by Charles Rowcroft: an immigrant Tasmanian family encounters the exciting land and its fauna but also bushrangers and the historical and rather noble Indigenous leader Musquito.
In Alexander Harris’s The Emigrant Family (1849) English incomers meet a vigorous native-born family as well as a range of trouble-makers. The settler thriller moved up to squatter level in Henry Kingsley’s rambling The Recollections of Geoffry Hamlyn (1859), which offers “every known cliché of Australian life” according to Arcady in Australia: The Evocation of Australia in 19th Century English Literature, an excellent critical book by Coral Lansbury – mother of Malcolm Turnbull.
Crime fiction illuminated the 1850s goldfields experience, mostly through short stories in the Australian Journal featuring police detectives known as “mounted troopers”, who controlled theft and crime of all kinds: they and the miners generated an early form of mateship.
The most prolific author was Mary Fortune who, Lucy Sussex’s research has shown, wrote hundreds of crime stories to the end of the century, and has begun to be re-published. The new gold-rich urban Australia was explored, especially when Donald Cameron produced the intriguing, and almost totally forgotten, The Mysteries of Melbourne Life (1873), followed by Fergus Hume’s highly readable The Mystery of a Hansom Cab (1886): Melbourne-set and published, it then became in London the first best-seller in world crime fiction.
There had been retrospective fictions that essentially criticised the harsh convict colony and ennobled the transportees. The Broad Arrow (1859) by “Oliné Keese” (English visitor Caroline Leakey) is about a brave, true woman convict; His Natural Life by England-born Marcus Clarke offers a long, well-researched story of a maltreated, wrongly-convicted man, appearing first as a serial in the Australian Journal.
In that version he finally escapes from Norfolk Island, becomes a successful goldfields shopkeeper, and eventually returns wealthy to his much-diminished English family. But when it became a book Clarke was persuaded to drop the optimistic “Aussie-success” ending for popular novel melodrama: the escaping hero drowns tragically, and the title becomes the unironic For the Term of His Natural Life.
A more romantic and now fully Australian account of past crime and redemption was the very popular Robbery Under Arms (1881-2) by “Rolf Boldrewood”. The bushranger-turned-convict is no Anglo hero but a tough native Australian: he and his patient girlfriend end up as successful rural property-owners. So crime fiction developed a positive patriotic approach which would soon mesh with the bush myth asserted by popular writers like Lawson and Paterson – also fictional, as the cities grew.
In the late 19th century there were predictable urban mysteries and better rural dramas by writers like Rosa Praed and Mary Gaunt, as well as the distinctly Australian sporting thriller, notably those set at the races by Nat Gould, and also bold roving amateur detectors such as Randolph Bedford’s Billy Pagan, Mining Engineer (1911).
But national mythic features could also be negative: notably absent have been police – while they were familiar overseas, here the memory of transportation limited them to Fortune’s people-friendly troopers, well-separated from convictism.
Equally lacking was any serious treatment of Indigenous people: they only appeared as lurking threats or helpful trackers, except in Arthur Vogan’s The Black Police (1890) in which an England-born New Zealander, who had taken a job in outback Queensland, told a bleak story about the racism he found there.
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Between the wars, London publishers continued their dominance and there appeared two striking responses from local crime writers. Their novels can have “zero-setting”: though occurring in Australia they offer almost no local detail at all. Or they can be the opposite, “touristic” crime fiction, all bush and kangaroos, with the villain often consumed by the land itself in fire or flood.
The success of Arthur Upfield’s long series of “Bony” mysteries was not primarily based on his intelligent half-Indigenous detective but, including for overseas readers, came from the many grand outback landscapes that are so well described, to which Bony relates so strongly.
At the same time, interest developed in the formerly minor “crime novel”, the name for a story without detection and tending to sympathise with the criminal – an Adelaide-set series came from Arthur Gask. Classical mysteries were often set in the northern islands, as by Beatrice Grimshaw and Paul Maguire and, amazingly, the Hollywood actor and Tasmanian journalist, Errol Flynn, whose Showdown (1946) is a very capable thriller.
In the 1930s Jean Spender, adopting the English style, deployed an under-heroic police detective and she was followed post-war by other successful women. June Wright’s restrained policemen usually marry the young Melbourne lady amateur detective, but she also created a fine nun-detective, Mother Paul. Sydney-based Pat Flower, from Hell for Heather (1962) on, produced a sequence of psychothrillers as potent as those by international stars such as Patricia Highsmith or Barbara Vine (the pseudonym of Ruth Rendell).
Effective post-war male crime writers existed, such as Sidney Courtier and A. E. Martin, but they too were mostly England-published and little noticed or remembered. The American private eye had a brief presence in and after World War II, with many Americans in the country and English book imports rare: both US-based and local tough-guys thrived like those by the ultra-prolific “Carter Brown” (Alan G. Yates).
They faded, but the form would return when, feeling abandoned by Britain and looking more across the Pacific, readers were offered their own version of the American mode. The Dying Trade (1980), published in Sydney, with full local publicity, featured a truly Aussie tough guy, Cliff Hardy, and the author, Peter Corris, academic and journalist, stimulated more Sydney-based detectives, Marele Day’s elegant feminist Claudia Valentine, glamorous lesbian cop Carol Ashton by Claire McNab, and the thoughtful English-style amateur Verity “Birdie” Birdwood from publisher Jennifer Rowe. Now local readers could enjoy a wealth of their own national crime fiction, newly embodying many forms of contemporary conviction.
Melbourne soon followed with Shane Maloney’s wry amateur inquirer Murray Whelan and Peter Temple’s Chandleresque private investigator Jack Irish, so well realised on television by Guy Pearce.
The crime novel continued through Garry Disher and his genuinely tough Wyatt, while the psychothriller and other sub-genres flourished, especially from the ever-productive Gabrielle Lord. Finally, major male writers started to employ police – Disher by 1995 with Inspector Challis in The Dragon Man and Peter Temple’s very successful The Broken Shore (2005) introduced injured cop Joe Cashin.
Modern retrospection arose from Australian acceptance of the innovative mode of historical crime fiction pioneered by Umberto Eco in The Name of the Rose (1980). Melbourne led with Kerry Greenwood’s glamorous 1920s investigator Lady Phryne Fisher in Cocaine Blues (1989); later Marshall Browne offered a turn-of-the century Melbourne thriller series.
International gay crime fiction arrived: Claire McNab handled the female side forcefully, while for the men Adelaide’s notorious Duncan drowning was reworked in Roger Raftery’s The Pink Triangle (1981) and Phillip Scott’s amusing opera-related series started with One Dead Diva (1995).
Indigenous crime fiction writers also appeared. Mudrooroo Narogin produced, then as Colin Johnson, Wild Cat Falling (1965), a potent crime novel about a Perth teenager; later crime stories featured his Detective-Inspector Watson Holmes Jackamara, a figure both ironic and revealing. Archie Weller wrote a strong crime novel The Day of the Dog (1981) and tough short stories; Philip McLaren’s major novel Scream Black Murder (1995) has Indigenous police detectives, male and female, facing both public and personal challenges in Sydney’s Redfern.
Since 2000 Australian crime fiction has strengthened further, mostly with new voices. Day, Rowe and McNab all put an early end to their series and in 2017 Corris has called it a day – Cliff is smiling as the story finishes. Temple’s darkest novel, Truth, won the Miles Franklin national prize in 2010, but his recent death has saddened readers.
Historicism has continued. Sulari Gentill explores the politics of the 1930s in her Rowland Sinclair series, and Lady Phryne has re-appeared, but Greenwood now also turns to the “cozy” tradition with large detecting chef Corinna Chapman. Police presence has grown, with notably realistic treatments by former female officers, P.M. Newton, Karen M. Davis and Y.A. Erskine; and there are others, like Leigh Giarratano’s subtle detective Jill Jackson and Felicity Young’s Senior Sergeant Stevie Hooper, tall, brave and based in Perth, like several other modern investigators, including Alan Carter’s “Cato” Kwong, a police detective from a long-present Chinese family.
Australian women crime writers are now in a clear majority, and they also offer private eyes: Gabrielle Lord has a series about Gemma Lincoln, and Angela Savage’s well-developed Thailand-based novels feature Jayne Keeney. The psychothriller remains vigorous: journalist Caroline Overington produced the intriguing Ghost Child (2009), while Honey Brown offers deeply imaginative stories like Red Queen (2009).
The crime novel thrives among male writers — Disher’s man re-asserted his presence in Wyatt (2010) and Andrew Nette produced the both local and international Gunshine Road (2016); the comic crime novel emerged in Robert G. Barrett’s series about the idiotic bogan Les Norton. Other traditions continue: Tara Moss keeps feminism alive in her Mak Vanderwall series, while Nicole Watson’s The Boundary (2011) is a powerful Brisbane-based, Indigenous-oriented narrative.
Unique features appear in Australian crime fiction, and not just the five different authors who focus their mysteries on the Melbourne Cup. More notable are Leigh Redhead’s series about Simone Kirsch, the stripper-detective, starting with Peepshow (2004), revealing in several ways, and the two fascinating poem-based mysteries by the sadly late Dorothy Porter: The Monkey’s Mask (1994) and El Dorado (2007).
Such brilliant exotics, and the richness of the tradition as a whole, show how far Australian crime fiction has come from convicts and bushrangers, without losing its continuing relationship with changing national concerns and the social and personal myths it can both test and validate.
Stephen Knight is the author of Australian Crime Fiction: A 200-Year History
Stephen Knight, Honorary Research Professor, University of Melbourne
This article was originally published on The Conversation. Read the original article.