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| Geoffrey Drake-Brockman is Executor of the Literary Estate of Henrietta Drake-Brockman Short Biography of Henrietta Drake-Brockman O.B.E. Summary Henrietta
Frances York Drake-Brockman (née Jull) was a
significant figure in the development of
Australian literature in the mid-twentieth century. She is today
acknowledged principally as a playwright,
novelist, and historian; but she also made
major contributions on the national stage as
a critic, editor, broadcaster, and
journalist. Henrietta was widely
read nationally and her work
helped define Australian national
identity at a crucial time in the development
of a modern nation. Her perspective was
feminine, regionally focussed, fearlessly
inquisitive, socially inclusive, and
acknowledging of Aboriginal Australia. Henrietta was a proud
Australian, devoted to the expression of her
country through a distinctive Australian
literature. Through her writing she
illustrated a post-colonial Australia and
closely studied those who populated it. She
promoted Australian literature in many ways,
always writing and publishing, but also giving
speeches and participating in radio
broadcasts. Henrietta was active in the
literary community; she was a founding member
and president of the Western Australian branch
of the Fellowship of Australian Writers from
1938, was a longstanding committee-member of
Westerly, and also maintained memberships of
the Australian Society of Authors, and The
English Association. Henrietta was the author of
numerous novels, plays, short stories and
reviews. Her writing career began in the 1920s
when she wrote popular articles based on her
extensive travels in Western Australia’s
North-West, and spanned more than forty years
of regular publication. During this time
Henrietta Drake-Brockman became one of Western
Australia’s best-known authors. In the national context,
Henrietta was part of an influential early
wave of Australian women writers who rose to
prominence in the first half of the century.
Her writing extended beyond the traditionally
feminine domestic realm; it addressed
contemporary social debates and focused on the
remote areas of Australia that she knew well
from personal experience. Henrietta had an
abiding fascination with the North West and a
vision of Australia’s developing identity as a
robust, forward-looking nation. Henrietta fearlessly
addressed taboos of her time and treated a
range of unspoken social realities. She
tackled difficult issues of cultural identity
and placed them firmly into the minds of
contemporary Australians. Her subjects
included convict history, femininity at the
frontier, social class, and sexual
relationships between white and Aboriginal
Australians.
Through her writing Henrietta
engaged with contemporary
questions of Australian identity and race
relations. She wrote that white Australians
have much to learn from the generosity and
traditional practices of Aboriginal Australia.
In her 1938 play Men Without Wives she
documented then-current white attitudes to
cohabiting white and Aboriginal Australians
that today starkly inform our understanding of
the history of what has become known as the
Stolen Generation. In 1967 she was appointed
to one of the nation’s highest honours –
Officer of Order of the British Empire
(O.B.E.) - in recognition of her contribution
to Australian literature. She died of a
cerebral haemorrhage on the 8th of
March 1968 at the age of sixty-six. and was
buried in Karrakatta cemetery. Early life Henrietta Drake-Brockman
was born on the 27th of July, 1901
in Perth, Western Australia - she arrived just
seven months into the existence of the
Commonwealth of Australia, which was
constituted the 1st of January the
same year. For the duration of her life, much
of which was devoting to articulating
Australian national identity, Henrietta and
her country were effectively the same age. Henrietta was of the only
child of English-born Martin Edward Jull,
Public Service Commissioner, and Dr Roberta
Margaritta Jull, née Stewart, a medical
practitioner and social reform campaigner from
Scotland. Henrietta was educated at a boarding
school in Scotland and at Frensham in New
South Wales. Later she studied literature at
the University of Western Australia and art at
the Perth studio of noted artist Henri Van
Raalte. From an early age Henrietta
saw the visual arts as her calling, it was her
intention to study painting in Paris and
become an artist. However, she was also
fascinated by the worlds of literature and
history. As
a young girl, she came across a volume of Ongeluckige
voyagie, van't schip Batavia by Isaac
Commelin, 1647 about the Batavia shipwreck,
mutiny, and massacre. The memory of this story
stayed with her, and would motivate both
literary work and her renowned historical
research into the events surrounding the wreck
of the Batavia. When Henrietta was sixteen
years old, her mother Dr Roberta Jull
organised for them to visit the bush camp of
the young surveyor Geoffrey Drake-Brockman.
She met him again while she was a UWA student
after his return from overseas service during
World War One, and they courted. However,
Henrietta initially refused Geoffrey’s
marriage proposal, as it involved accompanying
him on a trip to China – an exotic experience
she yearned for so keenly that she felt she
must turn him down as otherwise “I should
never be sure if it were for the love of
adventure - or you”. On Geoffrey’s return from
China she relented, and accepted his renewed
proposal. In 1921 at the age of twenty she
married. This time she also accepted the
adventure that came with the pairing and moved
with Geoffrey, newly appointed Commissioner
for the North West, to roam the remote
Kimberley region of Australia and live
intermittently in Broome. For the first three
years of their married life their home was
never in the one spot for more than six weeks.
During this time,
Henrietta’s artistic focus shifted from
painting to the art of writing. This new
direction - which came to define her life -
was partially motivated by the practical
difficulties of dealing with art materials
while travelling in the outback, but also by a
wish to document fully what came to fascinate
Henrietta most - the internal realities and
motivations of the characters she encountered
so far away from the city. Outback Travels Rather than take up
domesticity - as was expected of a married
woman of her time - Henrietta decided to
accompany her husband on his work rounds in
the rugged North-West region. An intrepid and
perceptive bush traveller, she relished life
on the frontier and soon began to submit her
observations for publication by the West
Australian newspaper, initially under
the male pseudonym “Henry Drake”. Her
clearly-written and enthusiastic essays, based
on first-hand experience, were positively
received and she was emboldened to switch her
submissions to her full married name;
“Henrietta Drake-Brockman”, under which she
was to become a considerable force in
Australian literature. As they lived and travelled
through the remote North West, Geoffrey
recalls that; “Henrietta became increasingly
interested in the country, its problems, its
people, its natives . . . She was the first,
on-the-spot author to record the North-West
scene and characters.” Her engaging writing
style made her work readily accessible to a
wide audience of city-based Australians and
she fed their appetite for knowledge of the
further reaches of their country. Henrietta
used conventional genres such as romance,
travel narratives, and historical drama as
vehicles to support broader themes and social
commentary. By the time she returned to Perth
in 1926, Henrietta's reputation as a writer
had become established. During the time Henrietta
spent in the remote North-West she came to
feel a strong connection to the land. Her
articles contain rhapsodic descriptions of
country that she saw as spectacular, dramatic,
and vibrant. She saw the Australian landscape
as setting “the stamp of drama and humour on
all who inhabit it for long”. Her writing was
romantic and revered the beauty of the land -
although she never lost sight of the
inevitability of progress and change. Although
celebrated as a bush story-telling pioneer,
Henrietta was cognisant of the tales that came
long before her contribution. She wrote: “the
art of the short story is indigenous to
Australia, it flourished with the Aborigines
as they sat around their camp fires ... It was
the vehicle of their sacred myths, maintained
their close ties with the whole of nature and
… fitted their sense of character and drama,
their appreciation of the ridiculous, their
poetic dreaming. Through them the short story
is established as an art form reaching back
without disruption to prehistoric times.” [The
Kenyon Review, 1968.] During her time in the bush
Henrietta re-aligned her perspective from the
colonial orientation of her parents, who had
sent her to Scotland to be educated and
fostered in her a desire to peruse art by
journeying to its traditional epicentre –
Paris. Her reference of authenticity shifted;
instead of idealising European landscapes and
culture, she found a more immediate truth in
the expanse and grandeur of her own country,
its geography, its people, and its ancient and
unfolding history. Henrietta wrote with ardour
and curiosity about the country in which she
had been born. Australia in the early-1900s
was no longer a convict or pioneer land but
was a nation forging an identity in the face
of its stark early history and a global
backdrop of war and economic catastrophe.
Henrietta saw her country as both "grim and
fascinating"; a vast land of opportunities for
artistic and commercial endeavour. She
developed an optimistic nationalist vision
that was shared with her engineer husband.
However, her adoption of the new concept of
Australian nationhood ran at times counter to
popular sentiment in her home state. In 1933
Western Australia passed a referendum to
secede from the Australian Federation by a
two-thirds majority. The split was never
enacted only because the other states declined
to release WA from its constitutional
obligations. Despite such unsteadying history,
Henrietta resisted parochialism and continued
in her writing to declare herself as
“Australian” and to be writing for and about
“Australians”. Henrietta argued for the
acknowledgement of convicts and other cultures
in an Australian context, and consistently
worked to locate Australia on the world stage. She
argued that Australia’s most magnificent gift
was the inspiration of its people; “Her
traditions of liberal hospitality, of good
mateship, of a place in the sun for everybody.
Australia, above all else, has been a land of
regeneration. Again and again, from the grim
sad days to the present, she has shown what
men and women and children can do - if only
they are given a chance.” [The West
Australian, 1939.] Henrietta’s
keen interest in the North-West and the
Australian bush never diminished over the
course of her life. In her later years she
travelled without her husband to remote areas
of Australia by air, road, and rail, writing
for newspapers and magazines. Through her
essays and stories she celebrated the
uniqueness of the Australian environment and
relished its development for “expansion and
wealth”. Henrietta celebrated modern progress;
she represented the remote Australian
landscape as brimming with potential for
development. She wrote; “Australia is
essentially a land of the future”. The vision
of the developing modern nation in her writing
is utopian, full of positive potential and
promise. Personal Life In 1941 Henrietta’s husband
Geoffrey was called up for military service
and posted to Army Headquarters in Melbourne.
Henrietta moved with him to live in South
Yarra where they remained during the
hostilities of World War Two. At their home
they entertained literary acquaintances
including Miles Franklin, Ernestine Hill,
Nettie Palmer, Vance Palmer, and Paul Hasluck.
After two and a half years in Melbourne the
couple returned to Perth where Henrietta
remained based for the rest of her life. The
time spent outside Western Australia cemented
Henrietta’s national perspective and gave her
the understanding of history and context that
allowed her to set her 1947 novel The
Fatal Days in wartime Victoria. Henrietta was a good friend
and colleague of noted author Katherine
Susanna Prichard. As a co-founder of the
Communist Party of Australia, Katherine was a
controversial figure in 1950s Australia.
Katherine’s visits to the Drake-Brockman home
caused consternation to Geoffrey, given his
position as a senior government official and
former army officer, and he asked that they
meet elsewhere. Although Henrietta’s politics
were more mainstream than Katherine’s, their
relationship endured as they remained lifelong
friends and literary associates. Henrietta
later wrote Katherine’s biography, published
in Australian writers and their Work
no:18 [Oxford University Press, 1967.] Henrietta and Geoffrey had
two children: a daughter Julia and a son
Paris. Julia Fay Drake-Brockman (later Lady
Julia Moore) had a distinguished career as a
diplomat. She was third secretary to the
Australian delegation to the United Nations
and represented Australia on the UN Social,
Humanitarian and Cultural Committee, helping
to secure the historic resolution that all
member nations should grant women equal
rights. Her career was cut short by her
marriage to John Moore - as married women were
not permitted to serve in the diplomatic corps
at that time. Paris Morton Drake-Brockman was
an engineer with the Commonwealth Government.
He began his career as Construction Manager at
the Woomera Rocket Range in the 1960s - at the
time the world’s second busiest rocket range
after Cape Canaveral. Working at the height of
the Cold War era, Paris supervised civil work
associated with the testing of rockets and the
atomic bomb. He then moved on to senior roles
in the Commonwealth Housing and Construction
Department in Canberra. In 1970s he was Head
of the effort for Cyclone Tracy Emergency
Repair and Reconstruction Works. By 1980 he
became Director of Operations and General
Works for the Department of Construction.
Later, he was First Assistant Secretary and
then Ministerial Advisor. Plays Henrietta Drake-Brockman
was one of the most influential playwrights of
her generation. The majority of her work was
inspired by the remote North-West region of
Australia. She brought a female perspective to
bear on the overwhelmingly masculine
Australian bush legend. Henrietta said that when
she started writing she would have preferred
to be a playwright than a novelist, but found
that at the time there were few opportunities
for Australian plays to be staged. She
nonetheless wrote consistently for the theatre
in Perth during the 1930s and '40s. The
Man from the Bush was produced in Perth
in 1932 (and later in Melbourne), Dampier's
Ghost was performed in 1934, The
Blister in 1937, and Hot Gold in
1940. It was through her play, Men
Without
Wives, that Henrietta rose to national
prominence by winning the Australian
Sesquicentenary Drama Prize in 1938. With the
imprimatur of this major award Men Without
Wives became her most successful play.
It was first performed in Sydney in 1938 and
was also produced in Perth, Newcastle,
Adelaide, and Canberra. By 1945, when it was
performed at the New Theatre, Melbourne, it
had already been produced in every other
State. Subsequently, in 1956. it was broadcast
on ABC Radio and it had a season at the Arts
Theatre, Adelaide, in 1963. Men Without Wives is
today acknowledged for its importance to the
Australian theatrical canon for its role in
the history of plays written by women, about
women. The work is set in the remote North
West and its three pivotal characters are a
contrasting pair of white women and an
Aboriginal woman - Channa or "new moon". The
white characters are Ma Bates, a plain-talking
work-hardened farming matriarch, and Kit
Abbot, a pretty city-girl more concerned with
her grooming and society airs than the
realities of life in the bush. Channa is a
cheeky, confident character who is portrayed
as more in her element than either white
woman. The play shows how Kit is
shocked to learn that cohabitation between
white men and black women is not merely not
frowned-upon, but is fully accepted as a
reality of station life. This reality is
called “going combo” and Henrietta’s play
presents it centre-stage to the polite society
of Australian city theatre goers at time at
when the subject was strictly taboo. Over the
course of the play various white attitudes to
“going combo” are delved, from Ma Bates’s
staunch rejection - as mother of two
marriageable white girls Lulu and Claire - to
various levels of earnest disavowal,
scandalised disapproval, and straightforward
acknowledgement by the male characters of the
play. Men Without Wives
was received favourably by critics in it is
time, while in a more contemporary setting
Playlab notes in 2012: “Within our modern
context, its study of the isolation of women,
whiteness, and geography makes it fodder for
Intersectional Feminism.” Henrietta’s collected
plays: Men Without Wives and Other Plays
was published in 1955, while Dampier's
Ghost (1933) was included in Best
One Act Australian Plays published by
Angus & Robertson in 1937. In addition to the
broadcast version of Men Without Wives,
other radio plays by Henrietta included The
Daily Round in 1937 and The Jeweller’s Shop
in 1939 - which were produced respectively on
ABC Radio Perth, and on the ABC National
network.
Daily Round, was the winner of
the WA drama festival prize in 1937. Novels Henrietta’s extensive
travels in the Australian bush were the
primary sources for her novels, which she used
to explore national identity and social issues
of her time. She wrote six novels over some
thirty years - ranging across genres from
contemporary romance to historical tragedy. Henrietta’s first novel, The
Disquieting Sex (1930) was published in
serial form in Table Talk (1930) then
republished in The Swan Express in
1946. The story revolves around feminine
presence in the outback; an enduring theme to
which she was to return often in her writing. Henrietta submitted her
manuscript for Blue North to
Australia’s premier national magazine, The
Bulletin - for its novel competition in
1934. Although not awarded first prize, it was
placed high and published in serial form. The
work is a historical romance about life in the
1870s set in and around Broome. It traces the
adventures of its central character as he goes
in search of pearls along the Western
Australian coast. The work was republished in
book form in 1934 by The Endeavour Press,
Sydney. Sheba Lane was
published by Angus & Robertson, Sydney in
1936. Like Blue North it is a romance
and has Broome as its setting, but this time
in an early-twentieth century context. Younger Sons,
published by Angus & Robertson, Sydney in
1937, is a generational saga depicting Western
Australian settlement in the early 1800's.
Over the course of the story there is a
gradual crumbling of English tradition as the
settlers adjust to their new environment. The
work prompted critical acknowledgment of
Henrietta’s literary depth, “Younger Sons
grows as naturally from Australian soil as
Lawson's stories” [The West Australian 1937.] The Fatal Days,
published by Angus & Robertson, Sydney in
1947 is a romance set in Ballarat, Victoria.
Through this story Drake-Brockman explores
broader themes, including the value of art in
society, the crucial Australian history of the
Eureka Stockade rebellion, and the social
effects of the presence of American troops
stationed in Australia during the Second World
War. The Wicked and the Fair,
published by Angus & Robertson, Sydney in
1957 was Henrietta’s last novel. It is a
historical fiction based on the wreck of the
Batavia in 1629. Essays and Stories Henrietta was a prolific
writer of articles and short stories which
were widely published nationally and
internationally. She started her career
writing articles for The West Australian
about her travels in the little-known region
of the North-West. She frequently returned to
writing about remote parts of Australia,
describing the landscape, the people who dwell
there, and their achievements. Her stories
found a ready audience in her largely-urban
readership who were keen to satisfy their
curiosity about the far-flung outposts of the
country. Western Australian
publications for which Henrietta wrote
frequently included; The West Australian,
Westerly, and Southerly.
National titles included The Bulletin,
Australasian Post, The Australian
Woman’s Weekly, Quadrant, and
Walkabout. Henrietta published
twenty-three articles in Walkabout magazine
between 1930 and 1955. International
publications include Minneapolis Quarterly
(1948), Kenyon Review (1968), and Texas
Quarterly. Henrietta’s story: Life
Saver, won the prestigious Bulletin
National Short Story Competition in 1939. She
also won the WA Drama Festival Prize in 1937
and the 1939 British Author’s Press Medal for
Best Dominions Story with The Supreme
Moment. The North-West Skyline
was an 88-page short story published in book
form by Paterson's Printing Press, Perth in
1948. It included a series of reflections on
the places that Henrietta experienced during
her travels through the north-west of Western
Australia. Henrietta’s collected short stories
were published in Sydney or the Bush
in 1948. This volume explored aspects of
contemporary Australian life and reflected her
interest in “ordinary” Australians and
national identity. Literary Henrietta Drake-Brockman
was a widely published essayist, cultural
commentator, editor, and literary critic. In
1951 she co-edited with Walter Murdoch Australian
Short Stories (Oxford University Press,
London). She selected and edited a new edition
of the Folklore of the Noongahburrahs -
Australian Legendary Tales in 1953, as
translated by K. Langloh Parker, with
illustrations by Elizabeth Durack. This work
was selected as 1954 Book of the Year by the
Children's Book Council of Australia. She also
edited West Coast Stories, an
anthology of short stories by a range of
Western Australian authors, in 1959. Henrietta was a strident
advocate for artistic freedom and in
particular the right of authors to explore
issues of sexuality without censorship. She
was a member of the Australian Association for
Cultural Freedom, and of PEN International –
an organisation for Poets, Essayists and
Novelists set up to defend freedom of
expression worldwide. Henrietta co-wrote a
public letter of support for Max Harris,
editor of the Adelaide-based journal of
modernist poetry, Angry Penguins, when in the
aftermath of the infamous Ern Malley Affair of
1944 he was tried for obscenity for publishing
the fraudulent The Darkening Ecliptic
poems. She also defended in print the
controversial author Robert Shaw Close who was
imprisoned in 1946 for obscenity for
publishing his erotic novel, Love Me
Sailor, 1945. Historical Work Although Henrietta was
primarily a creative writer, her historical
account; Voyage to Disaster: The Life of
Francisco Pelsaert Angus &
Robertson, Sydney, 1963 is amongst her most
influential works. Henrietta’s research into
the Batavia, a Dutch East India Company
trading ship that ran aground off the coast of
Western Australia in 1629 and the aftermath of
the wreck - leading to one of the bloodiest
mutinies in history - resulted in the
publication of the definitive text on this
gruesome historical episode. In addition, over
the course of her research she pieced together
the clues that led to one of the most
spectacular discoveries in Australian maritime
archaeology: the location of the wreck and the
graves of some of those brutally murdered by
their shipmates. This outcome had eluded
exploratory parties for many years and was
only made possible by Henrietta’s
ground-breaking research. The story of the Batavia
fascinated Henrietta, her interest in the
shipwreck dating back to when she first heard
the story at the age of twelve. As an author
she thought that the events of the wreck and
the associated mutiny would make an excellent
basis for an historical novel. In the 1950s
she commenced her research for this project
and commissioned E. D. Drok to translate
Captain Pelsaert’s journal from Old Dutch into
English. She also went to Pelsaert Island on
Morning Reef for a week – the location which
had long been assumed to correspond to the
reef and islands mentioned in the journal,
despite a lack of physical evidence.
Unsatisfied with this interpretation, she kept
researching, having records and journals sent
from the Dutch archives in the Netherlands and
Indonesia. Henrietta determined that
the Batavia must have been wrecked some 80
kilometres north of Pelsaert Island, on the
Wallabi group of islands. In 1955 she
published her theory in Walkabout magazine. In
1957 she finished her historical novel, The
Wicked and the Fair, which she set on
the Wallabi islands. In 1960, a skeleton was
discovered on Beacon Island, one of the
Wallabi group and Henrietta was sure that it
was one of the mutiny victims. It wasn’t until
1963 that divers Dave Johnson and Max and
Graeme Cramer finally discovered the wreck of
the Batavia off Beacon Island, in the Houtman
Abrolhos - exactly where Henrietta had said it
would be. Henrietta donned a diving suit and
an aqualung to inspect the vessel's wreckage
herself. In the same year Henrietta published
Voyage to Disaster, a biography of
Francisco Pelsaert and a translation of his
journals. The discovery of the wreck
created an international sensation and in the
years that followed the story of the Batavia
was retold by many authors, including Hugh
Edwards in Island of Angry Ghosts
(1966) and Max Cramer in Tragedies and
Triumphs of the Batavia Coast (1999).
The discovery of the Batavia wreck shaped the
future of maritime archaeology in Australia
and triggered the development of state and
federal legislation for the protection of
underwater cultural heritage. Legacy Henrietta
is celebrated for her literary work in the
State Library of Western Australia Hall of
Fame. Her play Men without Wives
remains on release nationally through the
selected list of Playlab. Her letters and
personal papers are archived by the National
Library of Australia in Canberra. For her historical research
into the Batavia leading to the discovery of
the wreck, Henrietta Drake-Brockman received a
posthumous Parliamentary Medal of Honour. Via
the Maritime Archaeology Amendment Act of
1997, Henrietta was
acknowledged as a primary co-discoverer of
the Batavia; alongside Max Cramer, Dave
Johnson and Hugh Edwards. The discovery
of the wreck and its associated survivor's
camps led to the formation of the Western
Australian Maritime Museum, the signing of the
Australian Netherlands Committee on Old Dutch
Shipwrecks Agreement in 1972, and ultimately
to The Historic Shipwrecks Act of 1976 and the
development of maritime archaeology programs
around Australia. Reprints of Voyage to
Disaster (1963) were made by Angus &
Robertson as part of the Australian Classics
series in 1982, and by the University of
Western Australia Press in 1995. The anchor
farthest along the reef is named “Henrietta's
Anchor” in her honour; it remains there at 3.5
meters' depth. In every popular account of the
shipwreck, such as Peter Fitzsimons’ Batavia
(2011), Henrietta’s seminal work is
acknowledged. Under the terms of her will
Henrietta bequeathed a prize for Western
Australia’s top Indigenous student by tertiary
entrance score. The Henrietta Drake-Brockman
Prize is a cash sum to assist students with
books and equipment for further study. It was
awarded annually by the Western Australian
Department of Indigenous Affairs and has
recognised some thirty-five outstanding
students. Bibliography: Australian National
Maritime Museum Birman, Wendy, Design and
Art Australia Online, 1995 Comans, Christine, La Boite
Theatre Company Archives Cowan, Peter, Australian
Dictionary of Biography Volume 14, (MUP), 1996 Donovan Peter, 1997,
National Assets: A History of Asset Services
And The Commonwealths Day-Labour Organisation
1901-1997 Drake-Brockman, Geoffrey,
1960, The Turning Wheel Drake-Brockman,
Henrietta, The Sunday
Sun, 27 Mar 1938, Page 3 Drake-Brockman,
Henrietta,
The West Australian, Sat 2 Dec 1939,
Page 5, WHITEWASH ON THE EARLY DAYS – What The
Convicts Should Mean for Us Drake-Brockman,
Henrietta
et al, The Argus, 26 Oct 1944, Page 6 Angry
Penguins Defended https://trove.nla.gov.au/newspaper/page/630351
Drake-Brockman, Henrietta,
The West Australian, 25 Jan 1947 Page 15
National Sentiment Drake-Brockman,
Henrietta,
The Daily News, 21 Apr 1948, Page 5 WA Author
Considers 'Love Me Sailor' Sentence Medieval Drake-Brockman, Henrietta,
The Age, 28 Jun 1952 Page 10 Australian
Aborigines Drake-Brockman, Henrietta,
The Age, 5 Jul 1952 Page 10 Australian
Aborigines Gentelli, Liesel,
Trowelblazers, Henrietta Drake-Brockman Greaves,
Robyn
(University of Tasmania), 2014, Journal
of the Association for the Study of Australian
Literature, A ‘Grim and Fascinating’ Land of
Opportunity : the Walkabout Women and
Australia Greaves,
Robyn, 2016, Moving Forward, Looking Back:
Middlebrow Women Writers in
Mid-Twentieth-Century Australia, PhD Thesis,
University of Tasmania Hasluck, Alexandra Of
ladies dead : stories not in the modern
manner, Angus and Robertson, 1970. Laugesen, Amanda, 2011,
Writing the North-West, Past and Present: The
1930s fiction and drama of Henrietta
Drake-Brockman National Library of
Australia, Papers of Henrietta Drake-Brockman Norbar, The West
Australian, 18 Feb 1939 Page 3 The Novelist's
Craft. Rees, Anne, Inside
Story, The pioneering envoy who “waged war” on
Canberra, 2019 UWA Publishing - Henrietta
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