A Certain Style: Beatrice Davis – A Literary Life. By Jacqueline Kent. Melbourne:
Reviewed by Maryanne Dever
The Literature Fund of the Australia Council recently granted $20,000 to Penguin emerging writers. It seems that important developmental editorial work – once federal government. In an era of commodity publishing, the multinational conglomerates full-time editorial staff, so that in-house editing is now rare and proof-reading have much prospect of building a long-term professional relationship with company literary editors, takes readers into a world of writing, editing and publishing far have long recognised the influence and legacy of Beatrice Davis, Kent’s biography After completing her BA at the University of Sydney and serving an editorial first as a proof-reader and sales assistant, she was soon after appointed as Angus story of change, not only for Davis personally, but for Australian publishing: her what was once Australia’s leading publishing house. In this way, Kent’s study Lyons and John Arnold in making a welcome contribution to our understanding Angus & Robertson involved editing non-fiction works like The Australian Blood editor at Angus & Robertson from the late 1930s through to the early 1970s, Style is structured largely around Davis’ relationships with prominent Australian Drawing heavily on archival sources, Kent teases out the often intense and complicated extraordinarily diligent in keeping up communication with her authors, encouraging, gain a sense of her capacity to bolster inexperienced young authors, to deliver Some like Niland and Park found in Davis a mentor whose judgement was critical bit of encouragement and advice from the right person’, Park wrote to her, ‘does however, proved less straightforward. After discovering Eve Langley’s The Pea by Angus & Robertson, Davis was then faced with Langley’s lengthy disintegration manuscripts – sometimes delivered in enormous batches – were not publishable such as Xavier Herbert and Hal Porter whose egos were only matched by their who proved to be at once demanding, manipulative, sulking and bullying and that, in addition to regular editorial duties, she would happily serve as selfless offers into various writers’ careers through their relationships with Davis will communicated here is a measure of the often unacknowledged work that went of the canon of Australian fiction were shaped through these intense and sometimes voice emerges from the fragments of correspondence quoted here, she nevertheless interesting contradictions persist. Even while Davis was accorded considerable status and influence within the firm and one is left wondering how she really have been anything but prim after a few whiskeys of an evening and rumours element to the attempts the biography makes to reconcile the professional woman Davis inevitably experienced in her endeavours to be taken seriously in an industry in a world where considerable sanctions remained for women who stepped beyond one. Her personal travails mirror shifts in the publishing industry itself from being industry where books are simply products like any other. While Davis may as Angus & Robertson moved into the 1970s, publishing as she knew it and her mapping of the history of a firm and of an industry that is Kent’s particular achievement Gender Research at Monash University.
* For a full account of these, see Robyn Colwill’s recently completed PhD thesis, Studies and Art History, The University of Queensland, 2001. bästa online casino bonus