THE ACADEMY: “A book of honest, direct, sympathetic, humorous writing about Australia from within is worth a library of travellers’ tales ... The result is a real book—a book in a hundred. His language is terse, supple, and richly idiomatic. He can tell a yarn with the best.”
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CHILDREN OF THE BUSH.
By HENRY LAWSON. Eleventh thousand. Cloth gilt, gilt top, 3s. 6d.; full morocco, gilt edges, 6s. (postage 2d.)
THE BULLETIN: “These stories are the real Australia, written by the foremost living Australian author ... Lawson’s genius remains as vivid and human as when he first boiled his literary billy.”
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JOE WILSON AND HIS MATES.
By HENRY LAWSON. Eleventh thousand. Cloth gilt, gilt top, 3s. 6d.; full morocco, gilt edges, 6s. (postage 2d.)
THE ATHENAEUM: “This is a long way the best work Mr. Lawson has yet given us. These stories are so good that (from the literary point of view of course) one hopes they are not autobiographical. As autobiography they would be good, as pure fiction they are more of an attainment.”
London: Wm. Blackwood & Sons.
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LAURENCE HOPE’S LOVE LYRICS.
Uniformly bound in fancy boards with cloth back. 6s. (postage 3d.) per volume.
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THE GARDEN OF KAMA.
DAILY CHRONICLE: “No one has so truly interpreted the Indian mind—no one, transcribing Indian thought into our literature, has retained so high and serious a level, and quite apart from the rarity of themes and setting—the verses remain—true poems.”
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STARS OF THE DESERT.
OUTLOOK: “It is not merely that these verses describe Oriental scenes and describe them with vividness, there is a feeling in the rhythm—a timbre of the words that seems akin to the sand and palm-trees and the changeless East.”
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INDIAN LOVE.
SPECTATOR: “The poetry of Laurence Hope must hold a unique place in modern letters. No woman has written lines so full of a strange primeval savagery—a haunting music—the living force of poetry.”
London: William Heinemann.
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THE WITCH MAID, AND OTHER VERSES.
By DOROTHEA MACKELLAR. Cloth gilt, gilt top, 3s. 6d. (postage 2d.)
SYDNEY MORNING HERALD: “She possesses to a remarkable degree the faculty of conjuring up before our eyes an extraordinarily vivid picture in a single line or even a word or two. Miss Mackellar can grasp the essential spirit of a scene, and what is rarer still, can find words to make us, too, see it, where before we have been blind.”