Arthur Wright (writer)

Arthur Wright (1870- 19 December 1932) was an Australian writer best known for his novels set against a background of the sporting world, particularly horseracing, which meant he was often compared during his lifetime to Nat Gould.[1]

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Biography

Wright was born in the small town of Green Swamp near Bathurst. His family lived in Bathurst for a time, then Cow Flat before moving to Sydney. He was educated at Paddington Public School, worked for a time in a sewing machine firm, then went bush for a few years, doing various odd jobs in places like the mines, shearing sheds and railways. He returned to Sydney and worked for the Water and Sewerage Board for eight years. During this time he began to write in his spare time, and his short stories started appearing in magazines. His first novel, Keane of Kalgoorlie was a big success, launching his career as a novelist. By 1914 it was estimated Wright had sold 60,000 copies of his books, but he continued to work as a wharfinger in the Sydney suburb of Manly. Several of his books were adapted into films and plays, and he himself wrote the occasional screenplay. He had a wife and five children.[2]

Critical reception

Wright's work was not highly regarded critically at the time. This contemporary review of Gambler's Gold appeared in the West Australian:

"Judging from this latest publication by the author of 'Keane of Kalgoorlie', imaginative literature in Australia has got down to the deadest low water of spring-tide ebbs. The story is full of murders, horse-stealings, and turf frauds, drunks and welshers. This fact, however, does not invalidate the right to claim for the compilation Australian authenticity - all these things can be substantiated by police court reports in evening newspapers. The trouble is that there is no coherency in this wild and woolly farrago of delinquencies and stupidities. To outline the "plot" is practically impossible. The story drifts from one absurdity to another. There seems to be no possibility of rational connection between the events: there is certainly no emotional sentiment, no principle, no characterisation, no redeeming feature whatever in the crude production."[3]

Writings

References

External links