Abstract

In 2008, renowned Australian composer Peter Sculthorpe remarked that almost everything he has written since the early 1960s has been influenced by Indigenous music “because that was a music … shaped by the landscape over 50,000 years.” 3 His preference for accumulating “an effect of relentless prolongation” through the use of long drones has seen his music fail, until recently, to appeal to an Australian ear attuned to Bach and Mozart. 4 His aim, however, has not been to satisfy the European-trained ear, but to “mirror the Australian outback”; to capture a sense of time and space that many Australians have repeatedly failed to access. 5 Sculthorpe‟s efforts to form connections with the landscape are by no means singular; representations of the bush have dominated the arts from early settlement, albeit in a largely negative fashion. The contradiction between an accepted Australian vision of the landscape as empty, unwelcoming bush or desert, and the social reality of a nation living mainly in coastal communities has not gone unnoticed. 6 Nevertheless, contemplating this “accepted vision” alongside the lukewarm reception of Sculthorpe‟s work gives rise to the following question: what conclusions, if any, may be drawn from insistently negative representations of the landscape? In consideration of this question, I propose an analysis of two texts in which the representations of landscape have been overlooked in favour of feminist or classical readings: Barbara Baynton‟s Bush Studies and Joan Lindsay‟s Picnic at Hanging Rock. If “landscape is personal and tribal history made visible,” what is one to make of Bush Studies? 7 The parallels between Baynton‟s narratives of isolation and her own experiences cannot fully account for her portrayals of the bush as “a lonely, hostile place, antagonistic to its inhabitants,” where time recedes into the vast distances of the plains, and the past and future are uncertain. 8 Baynton‟s settlers, cut adrift from cultural and religious traditions, fail to form communities and conform to the notion that “where si gnificant tradition counts for little, places may be virtually without time,” leading to “no awareness of history.” 9 In short, Baynton‟s settlers are plagued with a sense of timelessness that appears to originate from perception, rather than the environment