It was a hard life; you were either working or you were sleeping; there was nothing else.
It was mid-winter in Sydney, but Winton's aqua Hawaiian shirt, strong, tanned arms and diffident demeanour filled the giant screen and spoke volumes of a distinctively Australian sensibility.
Winton's speech was not the usual platitudes of a prizewinner, but a passionate analysis of how the Australian literary landscape has developed in the twenty-five years since My brilliant career fact and fiction first won the nation's premier literary award and his eldest child was born.
I was the beneficiary of a new optimism and confidence in Australia. By the time I was twenty-five the expat experience had become a lifestyle choice, not a professional inevitability My twenty-five year old son has never known an Australia of cringers and whingers, snobs and bolters, compelled to ape the accents of their betters from another hemisphere.
The commission's inquiry into the book industry had, between the many speeches, been the main subject of conversation all night. I am anxious we stay awake and consider the distance we have all come since Miles Franklin's day and what we now stand to lose.
Our brilliant career really could go bung and if it does the work of generations will have been wasted. Franklin treasured distinctive Australian characteristics, but she was also cosmopolitan, actively engaged with the world — unlike other comparable national prizes, hers is not restricted to local citizens.
The Productivity Commission's inquiry is a timely reminder that the place of local stories in a global industry is fraught and likely to become more so. Lawson may have created an image of Australia that resonated with Franklin, but he was acutely aware of the limits of colonial life.
All the boxes of colonial publishing were ticked.
In Franklin left for the United States and spent much of the next four decades overseas — an active protagonist in the radical movements which swept the world.
She was not alone. Between and nearly two thousand Australian authors were published in Britain, according to research by John Arnold. Most wrote popular crime and romances designed to appeal to English audiences and earn a living from the circulating libraries.
The cultural cringe came at a real cost — Australian authors were paid a cut-rate colonial royalty a rate which still applies to those who do not assert their territorial right. After the war the publishers of the declining British Empire and those of the ascendant American divided the world along old colonial lines.
Publishing is a practical business, and the invisible strictures of the industry were crucial in the selection and distribution of books and the more subtle processes which ascribed prestige.
Well into the s there were only three Australian publishers. Australia remained a British territory until the Traditional Market Agreement collapsed in and it continues to be an important market for British publishers, accounting for at least a third of their export sales revenue, according to research by the British literary agent Hannah Westland.
It took another sixteen years before Australian territorial copyright was finally asserted and accompanied by regulations to mandate the timely publication of international books. This removed any lingering sense of national inferiority and provided an industry framework that rewarded initiative and enterprise, and enabled publishing to operate successfully with low levels of subsidy, unlike other cultural industries.
As a result small and mid-sized publishing companies have grown, and the transnational giants have invested more. Australian books now account for sixty per cent of books sold here and Australian authors have growing international stature, with no need to apologise for an Australian accent or to live in fear of genius turning to gall or beer — or a career going bung.
The decision on the Productivity Commission's recommendations, which could dismantle the industry's framework, was still pending as we went to press. It is a notion that is challenged in this cosmopolitan, digital age. Margaret Atwood has noted that all writers are born and die somewhere, but this is no longer sufficient to determine identity.My Brilliant Career has 4, ratings and reviews.
Jane said: In a remarkable heroine made her debut, in a book that purports to be her autobiog /5. My Brilliant Career Film Review My Brilliant Career is a period drama adapted from the novel by Miles Franklin (Stella Franklin), a prominent Australian author of the time.
She wrote it at just sixteen and was unprepared for the great amount of success the novel found. Like most first novels, My Brilliant Career draws heavily on its author’s experience, and its verisimilitude was such that contemporaries judged it as a factual rather than fictional. My Ideal Career Angela Bruce Davenport University HLTH Introduction to Health Careers My Ideal Career I have two options for my life.
I have the training that I had in the military that could send me into Aviation, or I could go into Health Information Technology. My Brilliant Career was a part of the s nationalist movement, but (as with most of the writers so categorised) its representations of environment, like its representations of gender and .
Miles Franklin: Miles Franklin, Australian author of historical fiction who wrote from feminist and nationalist perspectives. Franklin grew up in isolated bush regions of New South Wales that were much like the glum setting of her first novel, My Brilliant Career (; filmed ), with its discontented, often.