I enjoyed your talk, Louise. You cite Kimber's observation that Mansfield's vignettes are informed by Wilde, which supports your larger point that the literature Brady promoted was at once fervidly nationalistic and in dialogue with European and American models. But I wonder if you would say the vignette form changes in the hands of the three female writers you mention: does it get inflected differently in this Australian context? Is there something distinctive in the way these three writers use the vignette?
Carey hello. Thanks for your question. Apologies for my late response! This is a very interesting question and I have to confess that my research so far doesn't allow me to answer it! I have only had the opportunity so far to examine a small number of the stories and I think to answer your question I need to look at the whole run under Brady's editorial eye. The magazine format changed significantly when he took over and as Carol Mills highlights it went from being a magazine of the 19th century to one of the 20th century under Brady's guidance. It might have been that, as a result of his guidance, the short stories of those three women writers did change, not just in terms of their use of the vignette, but perhaps in their own style too. You have given me something delightful to think about, so thank you!