VOL 6.2, 2001:   editorial   |   inasa   |   executive   |   essays   |   conferences   |   news   |   publications   The Critical Reception of Australian Literature in Slovakia after 1945   Jaroslav Kusnir The University of Presov, Slovakia   It can be said without hesitation that translated works from different literary contexts represent not only a different literature, but are also a part of the domestic literary heritage. The quality of the selection process is, of course, dependent on the professional capability of a translator, on the 'accepting' literary context, but also on the political situation. Concerning the 'accepting context', Libusa Vajdova points out in her theoretical article on the reception of foreign literature that 'not all the components of the accepting context are homogeneous enough to provide a perfect picture of foreign literature.' (1) These components are, in her view, especially the groups of recipients with a particular aesthetic programme capable enough to express their ideas. In Vajdova's view magazines, literary groups with their own specific poetics and programme, or publishing houses represent these recipients. (2) In my paper I would like to focus on the determinative role of some magazines and publishing houses as well as on the political situation which has influenced the reception of Australian literature in Slovakia. As is generally known, Australian 'written' literary tradition dates back to the 18th century, so 'the receptional tradition' of this literature in any national literary context cannot be very long. The resources, bibliographies and entries on Australian literature in Slovakia before 1945 are insufficient, and this was also one of the reasons for my focusing on the reception of Australian literature only after 1945. Several important facts should be emphasised if we want to speak about the reception of Australian literature in Slovakia. They are, in particular, the socio-political context as well as the presence (or absence) of research institutions, experts or translators. The Slovak socio-political situation after 1945 could be labelled as 'socialist' or 'communist', influenced by Marxist and Leninist ideas applied in a society in a distorted way. It was especially the period of the 1950s, a period of Stalinism and severe political processes, the victims of which were also many convinced communists themselves. No wonder that under the great political influence of the USSR, literary scholarship in Slovakia was oriented towards Soviet Marxist literary scholarship. A very important role was played by the Czechoslovak-Soviet Institute of the Slovak Academy of Sciences (1954-1964) and the Institute of World Literature and Languages of the Slovak Academy of Sciences (1964-1973) where predominantly external and internal contacts of Slovak and Russian classic literature were investigated. With the transformation of this institution into the Literary Scholarship Institute of the Slovak Academy of Sciences in 1973 the orientation of Slovak literary scholarship on the national aspect of our literature changed, and Slovak literature started to be investigated within the broader context of world literature. If we look at how the reception of particular literatures manifested itself in Slovakia after 1945 in the body of translated works, an apparent increase in the number of translations from Russian and modern Soviet literature could be observed. This tendency culminated between 1945-1953 when the average number of translations from Russian was approximately 150 titles a year (the works of the founder of 'the socialist realism method' Maxim Gorkyi prevailed — his novel Mother appeared in four editions, My Universities reached three editions). (3) Thus it can be said that in the reception process quantity over quality and the ideological over aesthetic function of literature prevailed, as was also expressed in Zhdanov's words during the 1934 First All-Union Congress of Soviet Writers: 'The truthfulness and historical exactitude of the artistic image must be linked with the task of ideological transformation.' (4).This statement was exactly in accordance with the contemporary official political doctrines in Czechoslovakia which were also reflected, of course, in our literary scholarship. The first Australian work translated into Slovak after 1945 was surprisingly an extensive one — K.S. Prichard's goldfields trilogy (The Roaring Nineties, Golden Miles, and Winged Seeds) published in 5,500 copies in 1952. Jan Boor, a drama theorist, critic and author of the preface to this book stipulates one of the aims of the translation in his preface: 'We are not very familiar with Australian literature, life and the struggle of Australian people'. (5) These words apparently emphasised the informative and partly ideological function of the translation, and inaugurated Australian literature into the Slovak post-1945 literary context. Jan Boor emphasises the national aspect of Australian literature, continuing in his preface: 'New life has evoked a new art and literature which seeks to be national, and Australian, and which seeks to be a reflection of real life on the youngest continent.' Leaving no doubts as his and the author's socialist commitment he points out that 'the author stands on the side of a mining industry proletariat and its just fight which can guarantee really truthful information for us.' Perhaps a kind of sympathy for the Australian search for self-identity was expressed by the publisher itself — Matica Slovenska — a Slovak national institution which collects, publishes and disseminates mostly materials on Slovakia and the Slovaks. In 1954, four years after its publication in English, Frank Hardy's Power without Glory was translated into Slovak and was published by one of the biggest state publishing houses Slovensky spisovatel (Slovak Writer). This novel, attacking political corruption in Victoria, and characterised by some critics as a communist novel (6) was apparently selected for its ideological rather than aesthetic qualities. A review of this book appeared a year later in the oldest and most established Slovak literary journal Slovenske pohlady na literaturu a umenie (Slovak Views on Literature and Arts). (7) This journal was founded in 1881. Though Julius Noge, a reviewer, literary scholar and critic tried to evaluate ideological aspects of the novel in his review, he has also touched upon its aesthetic qualities. In Noge's view this work belongs to such other significant works of socialist realism as the works of the Soviet author Mikhail Sholokhov. Reviewing the first part of the novel Noge points out the negative aspects of the book (i.e. the use of lengthy economic and political tracts) which are not felt, in his view, to be artistic enough, but which are, on the other hand, overshadowed by dramatic detective scenes. The passages devoted to the West family in the second and the third part of the novel are considered to be the best by the reviewer, especially because of their psychological authenticity. Julius Noge also compares the book with Mann's novel Buddenbrocks and even with Balzac's novels pointing out that while Balzac was more successful in the depiction of the rise of bourgeoisie, Hardy is more successful in his depiction of the bourgeoisie's quest for power, its decay and its vain resistance against the proletariat. The novel is not, in the reviewer's view, without several artistic shortcomings which manifested themselves especially in the depiction of the Australian political context. In spite of the fact that Noge recommends the novel to readers, suggesting that the book could be read either as a criminal story or an adventure novel, Hardy's other works have not attracted publishers' attention and this book has remained the only one of Hardy's work translated into Slovak. The 1960s brought four translations of Australian authors into Slovak — Alan Marshall's books I Can Jump Puddles in 1961 (which appeared in six more editions later) and This is the Grass in 1964, Dymphaa Cusack's novel Say No to Death in 1963, which was also commercially successful (four editions) and Nevil Shute's novel A Town Like Alice in 1968. Concerning the reception of foreign literature in Slovakia in the 1960s, with a loosening of the political tension after the 1956 Congress of the Communist Party of the USSR (where the Stalinist cult was revealed), a growth of translations from English, American and Italian literature could be observed. On the other hand translations from 'the socialist' (especially Russian Soviet) literature were considerably reduced (from 60-100 titles a year to 30-40, especially between 1968-1970). (8) A growing interest in children's literature could be observed in Slovakia from 1953 onwards, which resulted in the establishment of a specialised publishing house for children's literature Slovenske nakladatelstvo detskej knihy (Slovak Publishing House of Children's Books) in 1953, renamed Mlade leta (Childhood Years) in 1956. The theoretical and critical aspects of children's literature were stimulated by the founding of the journal Zlaty maj (Golden May) in 1956, which specialised in the above mentioned aspects of children's literature. Mlade leta publishing house reached a high aesthetic quality in its books for children by its purposeful co-operation with renowned illustrators. Perhaps this higher interest in children's literature on the one hand, on the other hand a lack of Slovak authors writing children's literature stimulated the translation of Alan Marshall's book I Can Jump Puddles. This book was published by Mlade leta publishing house in 5,245 copies and has become one of the most successful Australian books translated into Slovak (with its 6 editions — in 1960, 1969,1973,1978, 1981 and 1990). The commercial success of the book could be confirmed by the fact that while the first edition had 5,245 copies, the last edition of the same book (in spite of not having very favourable free market circumstances in 1990) reached 12,000 copies. It should be mentioned that the great popularity of the book was also supported by several film versions, the success of the book in the USSR and the radio version of the book broadcast on Slovak Radio. Except for the first edition, all the other editions have the same translator — Elena Dzurillova — which may also be evidence of the quality of her translation. Several reviews have appeared of the different editions of the book, the first of them in the above mentioned children's literature journal Zlaty maj in 1961, the reviewer being Elena Dzurillova. (9) Dzurillova presents Alan Marshall as a bright connoisseur of the child's soul and praises his fresh, simple and figurative language. She also emphasises the suspense — making function of the flash-backs in the plot. Alan's second 'ego' projected into interior monologue together with the true depiction of the economic transformation of Australia at the turn of the 19th and 20th centuries are considered as the best passages of the work in Dzurillova's review. The other reviews have confirmed Marshall's reasonable style, sensitivity and a sense of understanding of a child's soul. (10) After a positive readers' and critics' response to this book, Mlade leta publishing house continued in its attempts to present world works of children's literature and published another Marshall book This is the Grass in 4,500 copies in 1964. The book was intended for 'readers from the age of 15'. (11) It is not difficult to guess that the translation of this book was encouraged by the translator of I Can Jump Puddles, Elena Dzurillova, who worked as one of the editors of Mlade leta at this time and was the editor of this book herself. The reviews of this book appeared both in the daily news and in the specialised children's literature journal Zlaty maj. The first review in the cultural column of the daily Smena (Shift) was mildly critical (12) focusing mostly on Marshall's life and trying to find parallels between Marshall's life and the novel itself, qualifying it as an 'autobiographical novel'. Though the author of this review treated mostly the plot, praising coherent and balanced narration and Marshall's penetration into the human interior, he was also critical of the initial lengthy chapters and a lack of dynamism in the plot. Bozena Vilikovska, the other reviewer of the book in Zlaty maj, criticises Marshall's useless descriptions (rooms and hotel facilities), gloomy characters without any function in the plot which, in her view, swallow them (Mrs. Birdsworth' employees), and many only outlined but unfinished relationships (among the brother and sisters, especially that of Alan to his sister Mary). (13) Bozena Vilikovska sees the only positive point of the book in its humanity, but only on a thematic level, because, in her view, the book has failed from the formal and artistic point of view . These unfavourable reviews perhaps negatively influenced publishing of others of Marshall's works in Slovakia as his two above mentioned books have remained the only ones translated into Slovak. But they have not influenced publishing of another Australian writer in Slovak — Dympha Cusack. Her novel Say No to Death was first published by Mlade leta in 1963 and appeared in 4 editions (1963,1969,1978 and 1992). While the first edition of the book was published in 10,000 copies, the next edition in 1969 reached 25,000 copies. The supervising editor of the book was again Alan Marshall's translator and editor Elena Dzurillova. Dympha Cusack has also attracted reviewers' attention, mostly in the dailies and popular press. So, for example, the reviewer of the agricultural daily Rolnicke noviny (Agricultural News) signed as 'M.K.' praises the book for its composition, manifesting itself in a plot 'rid of' sentimentality, but he criticises the lack of artistic value and the redundant descriptive passages. (14) The reviewer also misses deeper and more convincing analysis of the inner world of Burt's character and points, quite typically, at the real Australian social context and the problems of the Australia Health Service. A popular Slovak journal for women Slovenka (Slovak Woman) published a biographical note on the author qualifying her as 'a founder of the Australian metropolitan novel' and focused mostly on Cusack's journalism and social activities in the anti-war and peace movement. (15) The other review published in the popular journal Slovenka tried to draw a parallel between the main protagonists of Remarque's novel L' Arc de Triomphe and Cusack's Burt Templeton. The reviewer emphasises the 'social message' of Cusack's work manifesting itself in his view in the impact of the novel of life itself (origination of the investigation commission in Australia to evaluate the work of the Health Service) compared to Remarque's criticism of the modern urban jungle, human carelessness and anti-fascism (16). The last Australian author translated into Slovak in the 1960s was Nevil Shute. His work A Town Like Alice was published by the political publishing house Vydavatelstvo politickej literatury (Political Literature Publishing House) in 10,000 copies in 1968 and again the book has remained the only one of Shute's work translated into Slovak. The only review of this book appeared in the ideologically-tinged communist journal 'for science, culture, politics and arts' Nove slovo (New Word) in 1969. (17) The anonymous reviewer signed as 'B.T.' ranks the book among best-sellers without hesitation, but he criticises the black-and-white presentation of reality (colonial policy, colonisers-colonized, and the difference between blacks and whites). At the end of the 1960s much more qualitative and systematic work by publishing houses could be observed in Slovakia. It also manifested itself in their attempts to present the most significant works of world literature. To serve this purpose special editions have been established at various publishing houses. One of those editions was, for example, edition Vavrin (Laurel) or Spolocnost priatelov krasnych knih (Association of Friends of a Good Book) which have existed within one of the biggest state publishing houses Slovensky spisovatel, and this tendency continued through the 1970s. As for Australian literature, this period could be called a decade of quality. Except for the third and fourth edition of Marshall's I Can Jump Puddles, Cusack's novel Say No to Death, Morris West's novel Summer of the Red Wolf (18) and Robert Patrick's play Kennedy's Children (19) some most respected Australian authors were translated. The first of them was Thomas Keneally with his novel The Chant of Jimmie Blacksmith, published by the biggest publishing house Tatran in 15,000 copies in 1976. This book was translated by one of the most outstanding Slovak experts in American and English literature, and a writer himself, Pavel Vilikovsky. Patrick White was introduced to the Slovak readership by his novel Voss which was published by the other established publishing house Slovensky spisovatel in 22,000 copies in 1977, and was translated by Vladimir Tvarozek. Introduction of White's novel to the Slovak literary context was, of course, also brought about by his having been awarded the Nobel Prize for literature. Reviews of Keneally's novel The Chant of Jimmie Blacksmith have appeared both in dailies and in literary journals, all of them being mostly positive. To mention at least one, Ivan Observator, a literary critic, open and ideologically unprejudiced, praises ideas in Keneally's novel in the Slovak literary journal Romboid in his review in 1977. (20) In his almost poetic review, he mentioned Ned Kelly who in his view has developed almost 'an ideology' of killing and bushranging and attributed evil almost a prophetic role as it was to lead to the establishment of an Irish state in Australia. The reviewer finishes Ned Kelly's story arguing that 'he ended tragically and comically at the same time, dressed in Don Quijote's armour, but 'as holed as a colander'. Ivan Observator tries to see a parallel between Kelly's and Blacksmith's stories comparing both the characters' ... both were and were not Australians, they have both uprised, killed and found an expected reward'. Jimmie Blacksmith seems to the reviewer more complicated, both a tragic and balladic protagonist as he embodies all the basic problems of Australian society at the dawn of her modern history — a problem of the original and new population, an encounter of totemism and Christianity, black and white race, and a conflict of nature and society. Ivan Observator also praises a deep psychologism in combination with documentary passages which remind him of American author Truman Capote, and the 'polyphonic' character of the work, and eventually welcomes the book for including 'dark passions and irrational practises', deep and semi-deep scepticism, history, myths and 'exactness'. The other review of this book appeared in the cultural column of the daily Lud (Folk). (21) The reviewer signed as 'P.G.', focusing mostly on the plot and inferior position of Jimmie's character in Australian society, confirmed the qualities of the book praising it especially for its 'desentimentalised, documentary, sometimes ironic and even sarcastic style.'         Patrick White was presented to the Slovak reader by Jozef Olexa, an expert in English literature and translator, in the appendix article to the translation of Voss into Slovak. There Olexa also gave a chronological and biographical note on White's life and literary career. (22) Analysing the work of White in this article, Olexa criticises White's 'mannerism passing even to cliché', which is in his view typical more for poetry than for narrative genres. On the other hand he qualifies him as an untraditional author influenced by modern literary experimental tendencies, especially by these used in the works of Woolf and Joyce, and White's fictitious Sydney suburbs of Sarsaparilla and Barranugli are compared to Faulkner's Yoknapatawpha country. After commercial success and a positive readers' response to Cusack's novel Say No to Death, the established Slovak publishing house Slovensky spisovatel, as a part of its edition Spolocnost priatelov krasnych knih, brought the translation of another book by Cusack — her novel The Half-Burnt Tree in 1976. It was published in a high number of 40,000 copies. Surprisingly, the only critical mention of the book was found in the blurb of the book itself. (23) Here Cusack is ranked among the most widely read Australian authors in her own country who fights against the inhumane phenomena of this world, especially war, race conflicts, and capitalist morality. So as it can be seen, ideological rather than aesthetic qualities of the book were stressed again, with a greater interest in the author's political commitment than in the work itself. A more liberal political atmosphere in the 1980s in Czechoslovakia, especially after the launching of Gorbachov's 'perestroika' in the USSR in 1985 and consequently the democratic processes in other socialist countries in Europe, as well as publishers' and research institutions' systematic editorial and research work, was projected into the literary process. Slovak literature in an attempt to define its position in the interliterary process began to be confronted with individual national literatures in the world. But this cannot be said about Slovak literary scholarship's approach to Australian literature. Though the 1980s recorded an influx of translations of Australian authors, especially in popular journals, with the one exception of the translation of White's novel A Fringe of Leaves, we cannot speak here either of quality or of systematic work of publishing houses, translators and literary scholars in regard to Australian literature. One of the reasons for this situation may be the absence of experts in Australian literature, literature which could not compete with the main literatures in English — that is English and American — which have also been traditionally taught at universities in Slovakia as the only ones of the English-speaking countries. Thus only the connoisseurs and translators of this literature could come into contact with Australian literature, and consequently the process of presenting this literature to the readership was rather eclectic. In the 1980s the books of 9 Australian authors were translated into Slovak (one of them being the edition of Marshall's book I Can Jump Puddles). White and Prichard confirmed their literary reputation in Slovakia, while Eric Lambert with two books, M. Franklin, H.F. Brinshead and C. McCullough were belatedly introduced to the Slovak reader. Though both Prichard and Lambert were published by the most prestigious Slovak state publishing house Slovensky spisovatel and in one of the finest editions SPKK (The Association of the Friends of a Good Book) in a high number of copies (Prichard's work Coonardoo in 36,000 copies in 1980 and Lambert's work The Twenty Thousand Thieves in 30,000 copies in 1981), they evoked practically no critical response in the Slovak press. (24) Eric Lambert's literary reputation continued in Slovakia 3 years later in 1984 when his next novel The Veterans was again published by Slovensky spisovatel publishing house in 35,000 copies and the cover was illustrated by one of the most outstanding Slovak illustrators and painters Dusan Kallay. Eric Lambert is dubiously qualified as 'an English writer of Australian origin' on the blurb of the book. (25) Lambert is more closely presented by Dusan Slobodnik, literary critic and theorist, in the appendix article to the above mentioned translated novel. (26) Slobodnik focuses mostly on the cruelty and absurdity of war, its rejection and depiction in world literature and draws a parallel with such anti-war novels as those of Norman Mailer or James Jones and Lambert's work itself (especially because of Lambert novel's autobiographical character, realistic and even naturalistic descriptions of the fights and war scenes, mateship and 'uncapable commanders'). In the first part of this article its author tries to compare both Lambert's works — The Twenty-Thousand Thieves and The Veterans — praising the former for more balanced composition and plot reminding him almost of an ancient tragedy, the latter for 'more convincing and sophisticated depiction of the war scenes' creating, in his view, a more coherent whole, for using contrast as the main element of the 'sujet' construction, for realistic depiction of the social relations in contemporary Australian society, the relation of the narrator Bill to Margaret, and for revealing the background of war. Dusan Slobodnik also sees a continuity between Twenty Thousand Thieves and The Veterans especially in the depiction of 'the every-dayness' of war, in creation of an analogical opposition between the soldiers and the commanders in both novels, in a variety of characters and in a celebration of 'mateship', mostly represented, in the reviewer's view, by Tully, Lasher and the narrator Bill in The Veterans. The next part of this article focuses mostly on the common features of Lambert's protagonists finding them unlucky and tragic, their only defence against war being, in his view, their mateship which is felt to be the highest virtue. His further conclusions are apparently ideological, when he sympathises with Lambert who, in his view 'understands the class origin of war' and 'whose attitudes are anti-American and of a left-wing nature.' Eventually the book is praised for its informative value (depiction of war in the distant Pacific region) and for its anti-military message. Patrick White's literary reputation in Slovakia continued with a translation of A Fringe of Leaves in other respected Slovak publishing house Smena (Shift) as a part of the edition Eva (devoted to the world fiction for and about women) in 1981. The book is paid most attention in a literary journal Romboid. (27) Jasna Navratilova, a reviewer of the book, welcomes the book for the multidimensional character of its main protagonists, for White's style of untraditional, complicated sentences and images, metaphors and similes. Elena Dzurillova, the above mentioned critic, editor and translator of children's literature, seems to have become a keen supporter of Australian literature, since her name appeared again in 1982 and 1988 as a translator of 2 books of Australian authors into Slovak. These books were again published by the most established publishing house specialising in children's literature — Mlade leta. They were the books of Hesba Fay Brinsmead The Pastures of the Blue Crane and Miles Franklin's book My Brilliant Career, both books being intended for children 'from the age of 13'. Only one review has been recorded, that is one of the latter book (28) in which the reviewer, Marta Zilkova, praises the humanity and spontaneity of the book, but objects, on the other hand, to its sweetish tone manifesting itself, in her view, especially in an idyllic description of nature. If we do not take the 1981 translation of Dorothy Hewett's play The Golden Oldies by the Slovak literary agency LITA into consideration (translated apparently only for staging purposes — no review has been found, the number of copies is not mentioned), the last Australian author introduced to the Slovak reader in the 1980s was Colleen McCullough who has evoked an interesting reviewers' response. McCullough's The Thorn Birds was published by one of the most prestigious publishing houses Slovensky spisovatel in an imposing number of 45,000 copies in 1989. A more praising than critical tone can be felt from the afterword to this book, written by the translator herself, K. Karovicova. She qualifies McCullough as 'an author of progressive thinking', sympathising with the simple people who reject violence, war and fascism. Moreover, Karovicova praises McCullough's narrative qualities which are, in her view, detached from sentimentality. (29) In contrast to the praising tone of this article, the tone of Denisa Fulmekova's in the literary weekly Literarny tyzdennik (Literary Weekly) is bitterly critical. (30) In her review she points out the author's calculativeness and ranks the book among literary trash, 'salted by tears, spiced by some erotics', and her review concludes by a sarcastic sentimentality-rejecting exclamation related to the book 'Cry women, just cry!' Concerning the 1990s, this period has brought another edition of Cusack's novel Say No to Death (31) in 1992, the re-edition of McCullough's above mentioned novel in 1993, as well as her other novels Tim (32), The First Man of Rome (33), The Creed for the Third Millennium (34), The Ladies of Missalonghi (35), and An Indecent Obsession. (36) T. Keneally's novel Schindler's Ark was translated in 1994 after the successful Spielberg film version (37), Nancy Cato was inaugurated in the Slovak literary context by her novel Marigold. (38) Peter Carey was introduced to the Slovak reader by a translation of his short story American Dreams (39) and an extract from his novel Oscar and Lucinda (40), and Dorothy Hewett's play The Chapel Perilous was translated and published in 1992. (41) From the above it is quite apparent that concerning the reception of Australian authors in Slovakia, with the exception of some writers (White, Keneally or Carey), ideological criteria prevailed in their selection, which was, to a great extent, tinged not only by the political situation in Slovakia, but also by the absence of experts in Australian literature. This was reflected in the non-systematic editorial work of the publishing houses, translators and experts. Though James Aldridge was translated into Slovak quite often, he is not included in this paper because of his dubious status (he was considered an English author in the Slovak context). Moreover, he has evoked an interesting critical response that is why I have decided to devote to him a separate study which is in progress and will be finished soon. As for genres, with the accidental exception of two translated plays, prose is practically the only genre which has been introduced to the Slovak readership. In conclusion it is necessary to add that this presentation of Australian literature was extended by the Czech translations of other works, though more or less by the same authors (the Czech language is very close to Slovak and the readers from both Slovakia and the Czech Republic have practically no problems in reading and understanding the other language). Now it remains to hope that this decade will bring much more systematic work in the field of Australian literature and will familiarise Slovak readers with the other important Australian authors. Endnotes 1   Vajdova, L: 'Recepcna tradicia ako faktor prijimania inonarodnych literatur' (Receptional Tradition as One of the Aspects of the Reception of Foreign Literatures),In: O interpretacii umeleckeho textu (On Interpretation of a Literary Text), Nitra, 1989,p.275 2   ibid.,pp. 275-280 3   comp. Durisin, D., 'K rozvoju narodnych literatur po oslobodeni' (On the Development of National Literatures after Liberation), in Slovenska literatura (Slovak Literature), XXXIII, 4, 1986, p. 325 4   Carter, D., 'Documenting and Criticizing Society', in ed., Hergenhan, L., The Penguin New Literary History of Australia, UQP, Ringwood, 1988, p. 378 5   Prichard, K.S., Rusne roky devatdesiate, Preface, Martin, 1952, p. 5 6   Carter, D., 'Documenting and Criticizing Society', in ed., Hergenhan, L., The New Penguin Literary History of Australia, UQP, Ringwood, 1988, p. 385 7   Noge, J., 'Frank Hardy: Moc bez slavy', review, in Slovenske pohlady, LXXI, 1955,4, pp. 437-440 8   comp. Durisin, D., 'K rozvoju narodnych literatur po oslobodeni', in Slovenska literatura, XXXIII,1986, 4,p. 329 9   Dzurillova, E., 'Pribeh australskeho Meresjeva' (A Story of Australian Meresiev), in Zlaty maj, V, 1961, p. 478 10   'V.S.':Poznavanie zivota, in Smena, August 16, 1964, p. 4 11   comp. Marshall, A., 'Moj zivot patri Tebe', bibliographic note, Bratislava, Mlade leta, 1964 13   Vilikovska, B., 'Mladost v okovach', in Zlaty maj, V, 1961, 10, p. 478 14   'M.K.': 'Laskou proti smrti', in 'Rolnicke noviny' (Agricultural News), November 17, 1963, p. 4 15   Fricova, Ch., 'Svetoznama Australcanka' (World-Famous Australian), in Slovenka (Slovak Woman), XXI, 1968, 4, p. 7 16   Lifkova, I., 'O laske vykupujucej a tragickej' (On Love Redeeming and Tragic), in Slovenka, XVII, 1964, 3, pp. 6-7 17   'B. T.': 'Roman z Australie' ( A Novel from Australia), in Nove slovo, XI, 1969, 8, p. 15 18   West, M.L., 'Leto cerveneho vlka', Bratislava, Slovensky spisovatel, 1974 19   Patrick, R., 'Kennedyho deti', Bratislava, LITA, 1979 20   Observator, I., 'T. Keneally: Balada o Jimmiem Blacksmithovi', in Romboid, XII, 1977, 3, pp. 95-96 21   'P.G.':'Roman T. Keneallyho v Tatrane' (The Novel by T. Keneally in the Tatran Publishing House), in Lud, XXVI, February 2, 1977, p. 5 22   comp. Olexa, J., P. White: Zivot a dielo (P. White: Life and Work), in P. White: Voss, afterword, Bratislava, Slovensky spisovatel, 1977, pp. 471-484 23   comp. Cusack, D., Obhorety strom, Bratislava, Slovensky spisovatel, 1976, blurb 24   Lambert, E., Dvadsattisic zlodejov, Bratislava, Slovensky spisovatel, 1984, blurb 25   see Lambert, E., Veterani, Bratislava, Slovensky spisovatel,1984, blurb 26   comp. Slobodnik, D., 'E. Lambert a vojnova tematika v literature' (E. Lambert and Depiction of War in Literature), in Lambert, E., Veterani, Bratislava, Slovensky spisovatel, 1984, pp. 187-189 27   Navratilova, J., 'P. White: Strapce listia', in Romboid, XVII, 1982, 8, pp. 94-95 28   Zilkova, M., 'M. Franklinova: Moja skvela kariera', in Zlaty maj, XXXIII, 1989, pp. 187-188 29   Karovicova, K., 'Afterword', in McCullough, C., Vtaky v trni, Bratislava, Slovensky spisovatel, 1992, pp. 595-599 30   Fulmekova, D., 'Placky nad vtakmi' (Crying over Birds), review, in Literarny tyzdennik, III, 1990, 9, p. 5 31   Cusackova, D., Nedaj ma smrti, Bratislava, Mlade leta, 1992 32   McCulloughova, C., Tim, Bratislava, Gemini, 1993 33   McCulloughova, C., Prvy muz Rima, Bratislava, IKAR, 1994 34   McCulloughova, C., Kredo tretieho tisicrocia, Bratislava, Aktuell, 1993 35   Culloughova, C., Damy z Missalonghi, Bratislava, Slovensky spisovatel, 1993 36   Culloughova, C., Pokusenie, Bratislava, Slovensky spisovatel, 1994 37   Keneally, T., Schindlerov zoznam, Bratislava, Jaspis, 1994 38   Cato, N., Marigold, Bratislava, Danubiapress, 1994 39   comp. Carey, P., 'Americke sny', in Dotyky, V, 1993, 3, pp. 18-22 40   Carey, P., 'Oskar a Lucinda', in Revue svetovej literatury, XXVIII, 1992, 5, pp. 74-94 41   Hewett, D., The Chapel Perilous, Bratislava, LITA, 1992 Contents   |   Next Page