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I've posted here before about recycled paper and card being used in the publishing industry because of paper shortages (Kellogg's) and here's another, even more astonishing, example of recycling. This time it's the dust jacket. On the outside it's the mild mannered, pious, non-fiction After Confirmation but its secret inner identity is The Iron Way, an adventure novel sporting a cover featuring ruffians with a gun beating up a railway signalman.
The outside is here:
poster A2 that folds into a dust jacket
redesign of the book - "arte brasilieira, arte moderna e contemporânea", book about brazilian modern and contemporany art
to see how the poster works and more spreads
Title: WELWITSCHIA, Paradox of a Parched Paradise ;
Author: Chris H. Bornman;
Editor: C. Struik Publishers (Cape Town- Johannesburg, RSA);
Edition: 1st 1978:
Cover: hard under color dustjacket;
Pages: 72 (40 color photos in habitat);
Language: Afrikaans and English;
Sizes: 24,2 x 16,3 cm;
ISBN: 0 86977 097 7
The author is regarded as the world’s leading authority on the subject.
Frank Clune's 'Try Anything Once - the autobiography of a Wanderer' describes his early years as an adventurer. Clune became a popular writer on Australian adventurers, explorers, bushrangers etc.
Published by Angus & Robinson, Sydney. Brown cloth boards with illustrated dustjacket, 242 pages 13cm x 18cm..
Inscribed to the Australian book collector,Len Woodward.
A biography of Frank Clune: adb.anu.edu.au/biography/clune-francis-patrick-frank-9769
retrospective.
catalogue by Nicky Drumbolis.
Toronto, Letters Bookshop, 15 september [ie 12 october] 1988. 12 copies numbered in black pencil lower left verso of frontis, [issued as List 72].
7 x 8-1/2, 22 sheets white xerographic bond folded to 88 pp in 3 signatures of 7 sheets each, sewn pearl white in 2 doublestitches, the 22nd plain sheet glued around as interior wrappers, glued into plain black Fabriano laid endpapers & 7-7/16 x 8-5/8 plain white mayfair card wrappers in red Canson laid dustjacket with 2-7/16" flaps, front cover & spine only printed black typescript, interiors all except versos of 1st & last leaves printed black photocopy with 2 further leaves white xerographic bond tipped to recto rear interior wrapper, 1st 6-1/2 x 8-1/2 folded to 4 pp, 2nd 6-5/16 x 8-1/2, all printed black photocopy.
37 contributors ID'd:
Margaret Atwood, Matsuo Basho, Bill Bissett, Nancy Bryant, Charles Bukowski, Laurie Clark, Thomas A.Clark, Victor Coleman, Arthur Cravan, E.E.Cummings, jwcurry, David Donnell, Albrect Dürer, Amber Fritz, C.H.Gervais, Gerry Gilbert, Glenn Goluska, Dan Sayre Groesbeck, Sadakichi Hartmann, Liane Neller, Susanna Heller, Daniel Jones, M.Kettner, Archibald Lampman, Michael Lawlor, Michael McNamara, Lowell Naeve, bpNichol, Maureen Paxton, Steve Richmond, Elizabeth Smart, Raymond Souster, Fred Turner, Rosalind Warren, Phyllis Webb, William Carlos Williams, Ludwig Zeller.
Nichol contributes:
i) "fr-o-glop" (concrete poem, translation of Matsuo Basho quoting Dom Sylvester Houédard)
ii) WATER POEM # 3 (poem; reprintd as it appeared as a matchbook)
iii) "Hope Anderson is an absolutely amazing" (prose blurb)
also includes (all bibliography by Nicky Drumbolis except as noted):
iv) books published (in 34 parts, pt.26 is bp nichol)
v) "CCMC with steve mccaffery (Sketching 2)" (cover for Nichol title)
vi) broadsides published (in 3 parts, Nichol references throughout:
–1) broadsides published
–2) addenda
–3) ephemera)
vii)CONTACT RETROSPECTIVE, by Nicky Drumbolis (poster (much reduced), passing reference to Nichol)
viii) work published (Nichol referenced)
ix) "george bowering condensed", by Nicky Drumbolis (title page typography (with illustration by Dan Sayre Groesbeck); Nichol referenced)
x) "At the first, stray", by Thomas A.Clark (poster designed by Nichol, much reduced)
xi) events (in 5 parts, Nichol referenced pts:
–1) readings
–4) collaborations
–5) exhibitions
A Bibliophilography from stock.
by Nicky Drumbolis.
Toronto, Letters Bookshop, 14 january 1992. 56 copies issued as List 91 in 3 variants, ISBN o-921688-o3-2:
a) 3 proofs (uninspected)
b) 3 "dedicatee" copies marked "o/s" (uninspected)
c) 5o copies numbered in red ink at colophon rear as decribed below.
5-7/16 x 8-3/8, 92 sheets tan xerographic bond perfectbound with plain salmon xerobond endpapers into plain dark-flecked grey byronic brocade card covers in mauve xerobond dustjacket with 2-7/8" flaps pasted down inside covers, all except inside & rear covers, front flap & 2 pp (4, last) printed black photocopy with 3-1/2 x 7-9/16 tan xerobond broadside printed black photocopy laid in (9 copies thus).
9 other contributors:
Nelson Ball, Vaughn Bode, Barbara Caruso, Victor Coleman, jwcurry, Jack David, bpNichol, Brad Robinson, Janeen Vanden Berg.
curry inclusions:
i) "well, now i've gone & done" (entire 1st page quoted in full (see also (v) below)
bibliography in 7 parts prefaced with "thanks to jwcurry & stan dragland" includes further references to curry (all bibliographical descriptions by Drumbolis) in:
ii) Separate Publications (part A in 35 parts with curry references in parts
–27. METAMORPHOSIS (curry as publisher)
–32. FORCE MOVEMENTS (quotes curry's colophon "2nd edition, slightly revised, of 15o copies" in full in text & comments "Produced by jwcurry (whose persistence encouraging the author's return to print must be credited partly responsible for the consequent resurgence to publication).")
--34. CELEBRATION (curry as publisher))
iii) Periodicals Contributed to (part C in 67 parts with curry references in parts
--66. 1cent 271 (curry as editor)
--67. 1cent 274 (curry as editor))
iv) Edited Publications (part E in 79 parts with references to curry's notes toward a beepliography in part
–75. KONFESSIONS ON AN ELIZABETHAN FAN DANCER)
v) ABOUT (part G in introduction & 43 parts with curry references in part 43, 1cent 271, & substantial further quote from (i) above, including an embedded quote from curry's to the reviews editor)
Re: Libro de Hermes Trismegisto.
"[...] tu libro es siruela?? que chistoso tu y yo ya habiamos hablado de editoriales y el se puso a hablarlo ayer, dice que en el samborns venden libros del hermetismo, pero que estan asquerosisimos por que k son de esa onda de teorias orientales [...]"
Pues nopis, no es ed. Siruela, es Ed. Indigo de la colección "Archivo Hermético 7" .
Pues que más puede esperar tu maestro de filosofía si va a buscar un libro de Hermes al sangrons?, de vez en cuando te encuentras libros que luego ni en gandhi (Una vez encontré uno de Fernando Arrabal), pero son excepciones, como momentos kodak, jaja.
Como verás no trae puesto su "dustjacket" porque se ve mejor sin el. Digo no esta mal ya que la portada trae una ilustración de William Blake "The Ancient of Days (aka God as an Architect)" personalmente me fascina esa pintura y es muy ad-hoc con el libro.
"Mars eclipses the Sun. From one of the moons of Mars this is what you would see." [Image caption]
About the Author
“Roy Gallant was born in Portland, Maine, and has spent most of his life in New England.
“After graduating from Columbia, he went to work as a staff writer for ‘Science Illustrated’ magazine. This started his interest in science writing. Now he is employed by Scholastic Magazines as managing editor of ‘Scholastic Teacher.’
“He has been writing articles for ‘Boys Life’ magazine since 1950. Among those arousing most reader interest are ‘Birth of the Moon,’ ‘The Missing Planet,’ ’40 Billion Suns,’ and ‘Escape from Earth,’ a series on space travel.
About the Artist
“Lowell Hess comes from Oklahoma and is the oldest in a family of nine children. He is a free-lance illustrator and a member of the Society of Illustrators. His work has been published in most of the major magazines. He now lives in Ossining, New York, with his wife, two beagles, and two cats. His main interests outside his work are early American antiques, sports cars, woodwork, and colonial houses. In fact, at the present time, he is personally restoring a house built about 1790.”
[From the dustjacket]
The 17th book in Mulford's famous "Hopalong Cassidy" series of novels, the hardback copy is a Sun Dial Press 1940 reprint & the opened paperback copy is a Hodder & Stoughton 1952 edition. Also in the above picture is my Siskiyou Buckle Co. pewter cowboy belt buckle & a Cath Kidston cowboy design large mug.
Selected Writing On Contemporary Canadian Art.
by Gil McElroy.
Wolfville, Gaspereau Press, [december] 2oo1. ISBN 1-894o31-46-6.
6 x 1o-15/16, 78 sheets white bond perfectbound in plain ivory stiff card wrappers & 6-1/16 x 11 ivory heavy bond dustjacket with 3-1/16" flaps, all except dj verso, covers & 17 pp (2, 4, 6, 14, 34, 6o, 76, 8o, 82, 14o, 146, 149/15o, 152, last 3 pp) printed black offset with 3-colour process addition to dj.
cover photograph by Gil McElroy.
11 other contributors ID'd:
Gerard Beaulieu, Gary Castle, Peter Dykhuis, Keith Graham, Alexandra McCurdy, bpNichol, Lauren Schaffer, Dan Steeves, E.Nancy Stevens, Susan Wood, Carl Zimmerman.
includes:
i) A STUDY OF CONTEXT: H, by bpNichol (visual poem, p.93; illustration for (iii) below)
also includes:
ii) [epigraph for part 2] (poetry, p.81, lines 1>4 (of 7) from "fortunate day", by bpNichol, part 36/47 of clouds (the martyrology book 2))
iii) GROUND STATES: THE VISUAL CONTEXTS OF BPNICHOL (prose in 8 parts, pp.83>98;
–1) "In the beginning there is the cosmological ground state. The" (pp.83>84)
–2) "Within the realm of the literary arts, visual poetry – a poetic" (pp.84>86; quotes: Willard Bohn, Barbara Maria Stafford)
–3) "The grid is so endemic to twentieth-century art that it has" (pp.86>87; quotes: Rosalind Krauss, Charles Olson)
–4) "There were two major anthologies published that documented" (pp.87>91; quotes: Augusto De Campos, Haroldo De Campos, Eugen Gomringer, Dick Higgins, bpNichol (2 on p.9o; from An Introduction (to Doors: To Oz & Other Landscapes) & from some afterwords (to the cosmic chef)), Décio Pignatari, Mary Ellen Solt (p.89, on Nichol from CANADA (in concrete poetry: a world view)))
–5) "While his career was initially established, in large part, because of" (pp.91>92)
–6) "The first historically acknowledged comic strip – a sequence of" (pp.92>94; quotes: bpNichol (4 on p.94, from (in order):
––A) LONELY FRED the cowboy hero: two (panel 1)
––B) LONELY FRED the cowboy hero: one (panel 2)
––C) LONELY FRED the cowboy hero: three (panel 3)
––D) LONELY FRED the cowboy hero: five (panel 2))
–7) "Nichol's family lived in Winnipeg, Manitoba, for a time when he" (pp.95>97; quote: Isidore Isou)
–8) "Underscoring the thought balloon that is this essay is a fun-" (pp.97>98))
Grab your boots and spurs and get ready for some Wild West Adventure!
Code Of The West By Zane Grey was published in New York by Grosset & Dunlap in 1934.
The interior of this hardcover novel is clean and still snug and features Blue cloth boards and spine in excellent shape. The charming brightly colored illustrated dust jacket is in lovely condition as this is an ex-library copy and is covered in Mylar.
Hard Cover. Very Good/Very Good. 12mo - over 6.75" - 7.75" tall.
John Carter of Mars is the eleventh and final book in the Barsoom series by Edgar Rice Burroughs. It is not actually a novel but rather a collection of two John Carter of Mars stories.
The first story was originally published in 1940 by Whitman as a Better Little Book entitled John Carter of Mars. Although credited to Edgar Rice Burroughs, it was written (and illustrated) by his son, John Coleman Burroughs and was later expanded and re-published in Amazing Stories as "John Carter and the Giant of Mars", the name it goes under in the collection.
The second story, "Skeleton Men of Jupiter", was first published in Amazing Stories in 1943. Intended as the first in a series of novelettes to be later collected in book form, in the fashion of Llana of Gathol, it ends with the plot unresolved, and the intended sequels were never written. Several other writers have written pastiche endings for the story.
The first edition of John Carter of Mars (a title that Burroughs never actually used for any book in the Barsoom series) was published in 1964 by Canaveral Press, fourteen years after Burroughs's death.
[Source: Wikipedia]
Grab your boots and spurs and get ready for some Wild West Adventure!
Code Of The West By Zane Grey was published in New York by Grosset & Dunlap in 1934.
The interior of this hardcover novel is clean and still snug and features Blue cloth boards and spine in excellent shape. The charming brightly colored illustrated dust jacket is in lovely condition as this is an ex-library copy and is covered in Mylar.
Hard Cover. Very Good/Very Good. 12mo - over 6.75" - 7.75" tall.
In the early 20th century elaborate illustrative cover designs were popular and the use of color halftone paper onlays increased. At the same time, publishers began printing matching illustrated paper dust covers.
Book jackets proved to be a cheaper, more effective marketing strategy for publishers. The jackets could easily incorporate color, photographs, information about the publisher and other titles available, along with a synopsis of the book. The establishment of the dust jacket as a marketing tool meant that the era of publishers’ bindings was at an end.
Landmark Books were a series of history books published in the 1950's for children. I loved reading them as a kid, but got most of them from the library where the had dull covers without dustjackets. I've been picking some up at thrift shops. I really enjoy the cover art, and since I seem to barely be able to make a dent in my monthly upload limit, I'm sharing them with you.
Frank Clune's 'Try Anything Once - the autobiography of a Wanderer' describes his early years as an adventurer. Clune became a popular writer on Australian adventurers, explorers, bushrangers etc.
Published by Angus & Robinson, Sydney. Brown cloth boards with illustrated dustjacket, 242 pages 13cm x 18cm..
Inscribed to the Australian book collector, Len Woodward, with comment 'Good Hunting'..Christmas 1952.
Memoir by musician and composer William Christopher Handy (1873-1958), who did much to popularize and publish American blues music. "He tells of his early struggles; the lot of a Negro musician knocking about with entertainment groups in the South; his days in famous old minstrel shows; his work keeping his own band going; how he made but $100 from "Memphis Blues"; how his orchestra came to grief with the last war; his career in New York as a publisher and song writer" (from flap text). An attractive copy of a wear-prone title. BLOCKSON 7995; SKOWRONSKI (Black Music in America: A Bibliography) 6875.
First Printing. Octavo (22cm); dark blue cloth, with titles stamped in black on spine and front cover; blue topstain; dustjacket; xviii,317,[1]pp, with a frontispiece portrait of the author. Light wear to spine ends, hint of sunning to spine, topstain dulled, with a small, faint circular stain to rear cover; contents fresh; Very Good+ or better. In a supplied dustjacket, price-clipped, with light wear to heel and front flap fold, with a few tiny tears and creases; Near Fine.
Penguin First edition published in 1967.Cover illustration by Charles Raymond.Dust Jacket shows Dustin Hoffman in a scene from the Mike Nichols-Lawrence Turman production of The Graduate
So shiny! Metal foil for the braces.
SMILE will be in stores February 2, 2010. Published by Scholastic/Graphix.
The Public and Private Life of Books.
edited by Jason Camlot & J.A.Weingarten.
Waterloo, Wilfred Laurier University Press, [may] 2o22. ISBN 978177112568o.
6 x 9, 76 sheets white bond folded to 3o4 pp in 19 signatures of 4 sheets each & glued into plain ivory heavy bond endpapers with 3/4" black cloth appliqué head- & tailbands in 6-1/4 x 9-1/4 straw cambric-covered boards printed black letterpress spine only, interiors all except 7 pp printed black offset, in matte PVC white dustjacket with 3-7/8" flaps printed 4-colour process offset recto only.
cover sculpture by Brian Dettmer; photographer unacknowledged.
13 contributors ID'd:
Cameron Anstee, Nicholas Bradley, Jason Camlot, Anna Dysert, Sherrin Frances, Emily Kopley, Alberto Manguel, James Maynard, Linda Morra, Meaghan Scanlon, Andrew Stauffer, Bart Vautour, J.A.Weingarten.
includes:
i) "What is a library? Why do people collect", by [--?--] (front dj flap; prose précis with passing reference to jwcurry)
ii) Private, Public, and Personal Libraries In Situ and in Circulation, by Jason Camlot (pp.1-27; prose in 4 parts & Notes with a paragraph on (iii) below in part
–4. "Unpacking The Personal Library: The Public and Private Life of Books presents" (pp.18-24; curry reference p.24))
iii) jwcurry's Room 3o2 Books: The Small-Press Bookstore as Library and Archive, by Cameron Anstee (pp.21o-226; prose in 5 parts:
–1. "Sometimes at the impetus of small-press agents, sometimes due to scarcity," (pp.21o-211; with quotes by curry from
––a. "dec 98 Carl Spadoni:" (epigraph, p.21o)
––b. Marilyn Irwin reads at VerseFest Volunteer Appreciation w/ jwcurry..., by Rob McLennan (curry quoted in, p.21o))
–2. The Minor Archive (pp.211-214)
–3. Room 3o2 Books (pp.214-219; with quotes by curry from
––a. other indications (p.215)
––b. a bpNichol cyclopœdia B (p.215)
––c. "room 302 books" (p.216)
––d. as random as it'll get (p.216-217, again 217)
––e. The Jwcurry Experience, with Chris Kubsch (2 on p.217)
––f. "dec 98 Carl Spadoni:" (2 on p.218, 2 on 219)
––g. about just the curry section of yr dissertation (2 on p.218)
––h. "jan 99 Carl:" (p.219)
& about curry from
––i. Curvd H&z and Avant-Garde/Small Press Publishing in Canada, by Gregory Betts (p.215; 2 quotes)
––j. "January 28, 1999 Dear John (jw curry)", by Carl Spadoni (2 on p.219))
–4. A Beepliographic Cyclopoedia (pp.219-224; with quotes by curry from
––a. in support of A Beepliographic Cyclopoedia (pp.219-22o
––b. A Beepliographic Cyclopœdia: A Gallery Of Rectos In Progress (p.221)
& about curry from
––c. The Street Passage of Hand Print, by Nicky Drumbolis (p221, via Rob McLennan's Not Exactly Two Cents Worth: jwcurry's 1cent))
–5. NOTES (pp.224-226))
iv) "In My End Is My Beginning": The Library as Heraclitean Archive, by J.A.Weingarten (pp.227-238; references curry p.233)
v) Bibliography, compiled by [the editors?] (pp.239-256; includes 11 references to curry pp.24o (Betts), 242 (curry), 248 (Kubsch), 25o (McLennan))
In April 1970, during the glory days of the Apollo space program, NASA sent astronauts Jim Lovell, Jack Swigert and Fred Haise on America’s fifth mission to the moon. Only fifty-five hours into the flight of Apollo 13, disaster struck. A mysterious explosion rocked the ship, and soon its oxygen and power began draining away. Commander Lovell and his crew watched in alarm as the cockpit grew darker, the air grew thinner, and the instruments winked out one by one.
In “Lost Moon,” Lovell and coauthor Jeffrey Kluger tell the full story of the moon shot that almost ended in catastrophe. What begins as a smooth flight is transformed into a hair-raising voyage from the moment Lovell calls out, “Houston, we’ve got a problem.” Minutes after the explosion, the astronauts are forced to abandon the main ship for the lunar module, a tiny craft designed to keep two men alive for just two days. But there are three men aboard, and they are four days from home.
As the hours tick away, engineers on Earth search desperately for solutions. The entire nation watches as one crisis after another is met and overcome. By the time the ship splashes down in the Pacific, we understand why the effort to rescue Lovell and his crew is considered by many to be NASA’s finest hour. “Lost Moon” was the basis for the 1995 movie “Apollo 13” directed by Ron Howard and starring Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise and Ed Harris.
Canadian Poems for Children.
edited by David Booth.
4th printing. Toronto, Kids Can Press Limited, "1989" [ie 1992?]. ISBN o-9211o3-9o-5.
6-15/16 x 9, 24 sheets white claycoat folded to 96 pp in 6 signatures of 4 sheets each, sewn pearl white in 7 double stitches & glued into 7-1/4 x 9-1/4 glossy PVC white bond-covered boards, all printed black offset with 3-colour process additions to all but 5 pp (8, 25, 29, 92, 93), in 7-3/8 x 9-1/4 glossy PVC white semigloss dustjacket with 3-11/16 & 3-1/2" rear flaps, printed 4-colour process offset recto only.
cover graphic by Kady MacDonald Denton.
56 contributors ID'd:
Milton Acorn, Margaret Atwood, Sandra Bogart, David Booth, Arthur S.Bourinot, Dionne Brand, Harriet Cooper, Anne Corkett, Shirley Daniels, Diane Dawber, Kady MacDonald Denton, John Paul Duggan, Dorothy Farmiloe, Sheree Fitch, Dan George, Elizabeth Gourlay, Emily Hearn, Robert Heidbreder, A.M.Klein, John Lane, Dennis Lee, Jean Little, Dorothy Livesay, Joanne Lysyk, Marguerite Mack, Brian MacKinnon, Carolyn Mamchur, Sol Mandlsohn, Sid Marty, Floris Clark McLaren, Florence McNeil, William H.Moore, Colin Morton, Susan Musgrave, Fran Newman, bpNichol, Alden Nowlan, Sean O'Huigin, Nancy Prasad, James Reaney, Duke Redbird, Joe Rosenblatt, Lois Simmie, Norene Smiley, A.J.M.Smith, Raymond Souster, Ken Stange, Myra Stilborn, Siobhan Swayne, George Swede, Harry Thurston, Miriam Waddington, Jane Wadley, Jon Whyte, Tim Wynne-Jones, Meguido Zola.
Nichol inclusion:
i) A path to the moon (p.21; poem, 24 lines)
also includes:
ii) [untitled graphic], by Kady MacDonald Denton (pp.2o/21; illustrates both Jon Whyte's Coyotes at left & Nichol's A path to the moon at right)
___________________________
as 3rd edition but with redesigned logo & colophon after Nelvana bought Kids Can
Lieutenant Thomas Currie 'Diver' Derrick, VC, DCM
Date of birth: 20 March 1914
Place of birth: Adelaide, SA
Date of death: 24 May 1945
Place of death: Tarakan Island, Borneo
Thomas Derrick was born on 20 March 1914 in Adelaide. He was the eldest son of David Derrick, a labourer, and his wife Ada. The Derricks were not well off and Tom often walked barefoot to attend primary school. He left school at 14, by which time he had developed a keen interest in sports. During the depression he subsisted on the proceeds of odd jobs; fixing bicycles, selling newspapers and working in a bakery. In 1931 he travelled to Berri, on the Murray River, looking for work which he eventually found in a vineyard at Winkie. He remained there for the next nine years.
He married Beryl Violet Leslie in 1939 and enlisted in the Australian Imperial Force on 5 July 1940. Derrick embarked for the Middle East with the 2/48th Battalion and soon proved himself to be an excellent soldier, gaining promotion to corporal while his unit was in Tobruk. In July 1942 he was awarded the Distinguished Conduct Medal for his bravery and leadership at Tel el Eisa. At the end of that month Derrick was promoted to sergeant. By October his unit was in action at El Alamein, where he again served with distinction.
Derrick's unit returned to Australia in February 1943, training in north Queensland and Papua before helping to capture Lae in September. In November the 2/48th were in action at Sattleberg, overlooking Finschafen. Fighting amidst rugged terrain and under heavy fire from Japanese machine guns, Derrick performed the feat that earned him the Victoria Cross. Scaling steep cliffs, under fire, hurling grenades and using his rifle he cleared ten machine gun posts, making possible the capture of Sattleberg.
The 2/48th returned to Australia in February 1944 and in August Derrick was posted to an officer training unit. He was commissioned as a lieutenant in November. On 1 May 1945 he took part in the landing at Tarakan, Borneo. Later that month he led his platoon against a heavily defended position code-named Freda, gaining all but the highest knoll. That night a Japanese machine gun fired into the Australian lines. As he sat up to check that his men were all right, Derrick was hit by five bullets from the gun's second burst. He had been lightly wounded before, but recognised that this time his wounds were mortal. He died on 24 May 1945 and was buried in Labuan War Cemetery. A superb soldier, Derrick has also been described as a sensitive and reflective man - widely respected in the AIF he remains one of its better-known figures.
DICTIONARY OF BIOGRAPHY
Thomas Currie (Tom) Derrick (1914-1945), vineyard worker and soldier, was born on 20 March 1914 in the Salvation Army hospital at Medindie, Adelaide, eldest son of David Derrick, a labourer from Ireland, and his native-born wife Ada, née Whitcombe. The Derricks were battlers. Tom walked, often barefooted, to two primary schools in succession—Sturt Street Public School in the city and Le Fevre Peninsula School, Port Adelaide. He left school as soon as he could, aged 14. By then he was a bit of a larrikin around the Port, venturesome and quick-witted, keen on boxing, Australian Rules football, cricket and gambling. During the Depression his cheeriness found him odd jobs, fixing bikes, selling newspapers and working for a local baker. Early in 1931 he and some mates rode their bikes about 140 miles (225 km) to Berri, on the Murray River, chasing work. 'Diver', as he was now nicknamed, did long spells in the local 'susso' camp, once living on grapes for a week, but in late 1931 talked his way into work on a vineyard at Winkie. He stayed nine years.
In the presbytery of St Laurence's Catholic Church, North Adelaide, on 24 June 1939 Derrick married Clarance Violet ('Beryl') Leslie. As with C. J. Dennis's Ginger Mick, whom in peace and war Derrick so much resembled, marriage gave his life a more serious purpose. He did not volunteer for the Australian Imperial Force until 26 June 1940 and enlisted on 5 July. Although never overtly religious, he became a convert to Catholicism (his wife's religion) in early 1945. When Tom was at the war, Beryl walked almost every day to the post office, hoping for news of him.
On 17 November 1940 Derrick had embarked for the Middle East with the 2nd/48th Battalion, which was to be the most decorated unit in the A.I.F. In that distinguished company Derrick was outstanding. At Tobruk, Libya (April to October 1941), his enthusiasm and aggression in patrolling enemy positions brought him promotion to corporal, and he was probably recommended for a Military Medal on 1 May 1941. An officer at this time described him as 'resourceful, brave, aware, humane, forever bending over backwards for his men'.
At Tel el Eisa, Egypt, on 10-11 July 1942 Derrick ran forward through a barrage of grenades, destroyed three machine-gun posts and captured over a hundred prisoners. He then inspired the defence against a counter-attack, wrecking two tanks with sticky grenades. Awarded the Distinguished Conduct Medal, he was promoted sergeant on 28 July. At El Alamein in late October he showed his customary leadership and daring during a week of violent battle. Only forty-one of his battalion still stood at the end of that week, and Diver had been slightly wounded, but he destroyed three more machine-gun posts, and those who saw him were certain he had earned a V.C.
The 2nd/48th returned to Australia in February 1943 and trained in North Queensland and Papua before helping to capture Lae, New Guinea, in September. By 24 November the battalion was attacking the heights of Sattelberg, overlooking Finschhafen. Late that afternoon, while leading the advance platoon, Derrick confronted an almost vertical slope of thick jungle hiding Japanese machine-guns, and above that an open patch stretching menacingly 100 yards (91 m) towards the crest. Diver was told to withdraw, but he decided to go on. Covered by his mates, he scrambled hands and feet up the cliff, hurling grenades into enemy posts and clearing them out with his rifle. Even in peacetime the climb is barely possible, yet Derrick cleared ten machine-gun posts, stopping just short of the crest as dusk fell. It was one of the most astonishing feats of the war. He was awarded the V.C. (22 March 1944). In North Africa he had remarked that his D.C.M. had come in a Comforts Fund parcel; now he said that his achievement was due mainly to his mates.
In February 1944 the 2nd/48th again returned to Australia, and in August Derrick was posted to an officer-training unit. On being commissioned lieutenant in November, he became one of the few second A.I.F. men promoted from the ranks who rejoined their old battalions. On 1 May 1945 the 2nd/48th took part in the landing at Tarakan, Borneo, and soon pushed inland. On the 22nd/23rd Derrick led his platoon against a small hill, code-named Freda, thick with enemy defences. His skill and courage that day might easily have won him another V.C., but by night the enemy still held the highest knoll. Derrick spread out his men, then lay down on the jungle track to rest. At about 3 o'clock next morning a Japanese light machine-gun, on a fixed line, fired a burst down the track. Diver sat up to see that his men were O.K., the gun fired again, and five bullets caught him in an arc from his left hip to his right chest. He lay back quietly, and, after a time, said to a mate, 'I've had it. That's that. Write to Beryl'. He continued to direct operations until mid-morning. Then they carried him back, his grin and his courage never deserting him. He died on 24 May 1945 and was buried in Labuan war cemetery, plot 24, row A, grave 9. His wife survived him. (Sir) Ivor Hele's portrait of Derrick is held by the Australian War Memorial, Canberra.
Derrick looked the archetypal digger: a fine photo of him on the dustjacket of Allan Dawes's 'Soldier Superb' (Sydney, 1944) became one of the best-known Australian images of the war. It shows a man fit, strong and stocky (he was 5 ft 7 ins [170 cm] tall), a deep tan matching his dark hair, a cocky grin stoking the laughter lines around his brown eyes. It suggests both the larrikin and the professional, both the man who stuck by his mates and the born leader. It leaves unstated the man with such brilliant tactical judgement, such concern for his men, such modesty, such courage, such flair for being a soldier. It does not reveal the man who collected butterflies, who wrote poetry and kept a wartime diary, who liked rhyming slang. It does not say that here is one of the finest fighting soldiers of the war.
Derrick displayed the most fearless bravery throughout four years of battle. When he might honourably have quit the field he insisted on going back. Very few soldiers can compare with him. War gave him distinction, but he gave life honour. He was an extraordinary man.
LONDON GAZETTE
Government House, Canberra.
2yd March, 1944.
AUSTRALIAN MILITARY FORCES.
The KING has been graciously pleased to
approve the award of the VICTORIA CROSS
to: —
Sergeant Thomas Currie Derrick, D.C.M.,
• Australian Military Forces.
For most conspicuous courage, outstanding leadership and devotion to duty during the final assault on Satelberg in November, 1943.
On 24th November, 1943, a company of an Australian Infantry Battalion was ordered to outflank a strong enemy position sited on a precipitous cliff-face and then to attack a feature 150 yards from the township
of Satelberg. eant Derrick was in command of his platoon of the company. Due to the nature of the country, the only possible approach to the town lay through an open kunai patch situated directly beneath the top
of the cliffs. Over a period of two hours many attempts were made by our troops to clamber up the slopes to their objective, but on each occasion the enemy prevented success with intense machine-gun fire and
grenades.
Shortly before last light it appeared that it would be impossible to reach the objective or even to hold the ground already occupied and the company was ordered to retire. On receipt of this order, Sergeant Derrick, displaying dogged tenacity, requested one last attempt to reach the objective. His request was granted.
Moving ahead of his forward section he personally destroyed, with grenades, an enemy post which had been holding up this section. He then ordered his second section around on the right flank. This section came under heavy fire from light machine-guns and grenades from, six enemy posts. Without regard for personal safety he clambered forward well ahead of the leading men of the section and hurled grenade after grenade, so completely demoralising the enemy that they fled leaving weapons and grenades.
By this action alone the company was able to gain its first foothold on the precipitious ground.
Not content with the work already done, he returned to the first section, and together with the third section of his platoon advanced to deal with the three remaining posts in the area. On four separate occasions'he dashed forward and threw grenades at a range of six to eight yards until these positions were finally silenced.
In all, Sergeant Derrick had reduced ten enemy posts. From the vital ground he had captured the remainder of the Battalion moved on to capture Satelberg the following morning.
Undoubtedly Sergeant Derrick's fine leadership and refusal to admit defeat, in the face of a seemingly impossible situation, resulted in the capture of Satelberg.
His outstanding gallantry, thoroughness and devotion to duty were an inspiration not only to his platoon
and company but to the whole Battalion.
THE RISE AND FALL OF LEA HINDLEY-SMITH'S PSYCHOANALYTIC COMMUNE.
by Grant Goodbrand.
Toronto, ECW Press, [october] 2o1o. ISBN 978-1-55o22-976-9.
6 x 9, 136 sheets ivory bond & s white claycoat perfectbound with 3/4" red & yellow appliqué head~ & tailbands into plain cream heavy bond endpapers & 6-1/4 x 9-5/16 dull blue coarse linen-textured paper-covered boards printed silverfoil letterpress spine only, all except 14 pp printed black offset, all claycoat with 3-colour process additions, in 6-3/8 x 9-5/16 matte PVC white claycoat dustjacket with 3-7/8" flaps printed 4-colour offset recto only.
photography by Andy Phillips.
cover deisgn by Gord Robertson.
bpNichol "contributes":
i) "No path but the true path (p.9; poem, 14 lines, part of Ad Sanctos as epigraph to (viii) below)
ii) "it is the soft green growing things" (p.61; poem, 8 lines mislineated as epigraph to (xi) below)
iii) "a praise song on the theme of unity" (p.193; lyrics, 18 lines as epigraph to (xxxii) below)
iv) Winter: 35th year (p.211; poem, 16 lines, as epigraph to (xxxiii) below)
v) INSPIRED BY THE MONDAY MORNING SEMINAR, MARCH 23, 1981 (p.222; poem, 8 lines; quoted in full in (xxxiii) below)
vi) For Robert Duncan (p.247; concrete poem in full as epigraph to (xxxv) below)
also includes:
vii) In the foreground, in the mid-'7os, are Barrie Nichol and Robert Hindley-Smith, who were vice-president and president of Therafields respectively., by Andy Phillips (colour photograph, group portrait; rather severe crop at top center of front cover, in full p.i of photo section)
viii) CREATING CHARISMA (pp.9-33; prose, part 1, with epigraph by Nichol ((i) above) & references to Nichol pp.9-1o, 12-14, 15)
ix) GROUPS (pp.35-45; part 2, with epigraph by Nichol from "four hours monday in the sun to ottawa", lines 18-26 (the martyrology book 3))
x) THREE STREAMS (pp.47-59; part 3, with epigraph by Nichol from "now that it's over", lines 6-18, & reference to Nichol p.59)
xi) THE HONEYMOON (pp.61-72; part 4, with epigraph by Nichol ((ii) above) & references pp.66-67)
xii) THE FARM (pp.73-8o; part 5, with epigraph by Nichol from "carrots onions celery potatoes", lines 14-16 (with errant initial cap))
xiii) LEA'S MAKEOVER (pp.81-9o; part 6, with epigraph by Nichol from "who lives in anger", lines 11-18)
xiv) CONFRONTATION (pp.91-1o2; part 7, with epigraph by Nichol from
––1. "who is it in this other room i've found", lines 8-9
––2. "measure friendship by the time it takes to grow", lines 1-3 (grafted to the above as if it was part of the same poem) & references pp.92 (with a quote from
––3. [unidentified prose text published in Therapost]), 93-94, 97)
xv) CREATING THERAFIELDS (pp.1o1-115; part 8, with epigraph by Nichol from "is nothing but a history", lines 6-12, with references pp.1o5, 1o6 ("Everyone on occasion, diustrusted Lea, Rob or Visvaldis, but not Barrie."), 11o, 113)
xvi) THERAPY (pp.118-127; part 9, with epigraph by Nichol from "i do not remember what i could remember, lines 1-2o (leaving off only the last 3 lines))
xvii) From left to right: Grant Goodbrand, Gregory Baum, Josephine Hindley-Smith, Barrie Nichol and Janet Griffiths–an original member of Hypno 1., by Andy Phillips (b&w photograph, group portrait, p.11 of photo section)
xviii) The men of the house group at 477 Brunswick Ave. celebrate Christmasnof 1964, together with three guests., by Andy Phillips (colour photograph, group portrait of 9 includes Nichol, p.iii of photo section)
xix) Taken in September of 1971.", by Andy Phillips (colour photograph, group portrait includes Nichol (& Paul Dutton & Steve McCaffery from the rear) in performance with Four Horsemen, p.xiii of photo section)
xx) The wedding of Sharon MacIsaac and Philip McKenna., by Andy Phillips (colour photograph, group portrait includes Nichol, p.xiii of photo section)
xxi) Barrie Nichol in 1965., by Andy Phillips (colour photograph, portrait, p.xiv of photo section)
xxii) The Four Horsemen performing in the pit at the farm during the early '7os., by Andy Phillips (colour photograph, group portrait of Steve McCaffery, Paul Dutton, bpNichol, Rafael Barreto-Rivera, p.xiv of photo section)
xxiii) A singsong around the piano at a party in the mid-'7os., by Andy Phillips (colour photograph, group portrait includes Nichol, p.xiv of photo section)
xxiv) bpNichol and Josephine Hindley-Smith standing in the foyer of the Willow beside a painting of Jeroime McNichol during the party to celebrate Barrie winning the Governor General's Award for Poetry or Drama., by Andy Phillips (colour photograph, group portrait, p.xiv of photo section)
xxv) The wedding of Sharon McIsaac and Philip McKenna at the 59 Admiral Rd. house group in 1977., by Andy Phillips (colour photograph, group portrait includes Nichol, p.xiv of photo section)
xxvi) A group portrait of the Character Analysis Group, together with some members of Hypno 1, taken at the Willow in 1974., by Andy Phillips (b&w photograph, group portrait includes Nichol, p.xvi of photo section)
xxvii) THE HEART AND SPIRIT OF THE COMMUNITY (pp.129-141; part 1o, with epigraph by Nichol from
––1. "early morning victoria's streets", lines 9-18 mislineated, with references pp.13o, 132, 135 (passing reference to Four Horsemen), 138 (quotes from
––2. Therafields, by Lea Hindley-Smith, Stan Kutz, Philip McKenna & bpNichol))
xxviii) LEA'S FULFILLMENT (pp.143-152; part 11, with quotes by Nichol from
––1. "we gather round to talk at night (as epigraph, lines 1-9, 19-22 (errant line 2o), 29-31 (grafted to 22 with no ellipsis))
––2. An Introduction to Communications Therapy, by Lea Hindley-Smith, Stan Kutz, Philip McKenna, bpNichol (pp.145-146)
& reference p.149)
xxix) BETRAYAL (pp.153-164; part 12, with epigraph by Nichol from "you told me not to mention it & dave did", lines 5-8, with reference p.153)
xxx) THE END OF THE SIXTIES (pp.165-177; part 13, with quotes from
––1. "this morning talking with grant rob gestures at the snow", by bpNichol (lines 1-6 as epigraph)
––2. "The minutes of the advisory board, April 7, 1976", by [anonymous] (quote references Nichol, p.172)
––3. "the Advisory Board meeting on April 14, 1976", by [anonymous] (quote references & quotes Nichol from discussion, p.173)
with further references pp.171, 175, 176-177)
xxxi) THE OPPOSITION TO COMMUNITY (pp.179-192; part 14, with epigraph by Nichol from "saint orm you were a stranger", lines7-19 (slightly mislineated), with references pp.18o, 182)
xxxii) DECLINE (pp.193-2o9; part 15, with quotes from
––1. "a praise song on the theme of unity" ((iii) above as epigraph)
––2. "interview", by Grant Goodbrand & Jim Healy (Healy references Nichol, p.197)
& references pp.196-197 (to Nichol's A Brief Introduction to The Summonsa Tapestries for the Easily Defective (on Lea Hindley-Smith)), 2o2, 2o5-2o6)
xxxiii) THE DEATH OF IDEALISM (pp.211-23o; part 16, with quotes by Nichol from
––1. Winter: 35th year (p.211, see (iv) above)
––2. [unidentified article in Therapost, june 1979] (pp.213-214)
––3. [unidentified article, july 198o] (pp.22o-221)
––4. INSPIRED BY THE MONDAY MORNING SEMINAR, MARCH 23, 1981 (p.222 (see (v) above)
& references pp.212, 214, 217, 223, 224, 226, 227, 229)
xxxiv) A DOUBLE LIFE (pp.231-245; part 17, with reference to Nichol p.232)
xxxv) PRAYERS FOR THE DEAD (pp.247-256; part 18, with epigraph by Nichol ((vi) above) & reference p.249, 252-253, 256)
xxxvi) Acknowledgements (pp.257-258; reference to Nichol p.258