| Abstract: | This article concerns Arthur Vogan's novel The Black Police, published in 1890. In his book Vogan drew upon an affective global language of suffering that combined appeals to his experience as an eyewitness of the frontier with popular stereotypes drawn from British and American abolitionist precedents. These sources included Uncle Tom's Cabin and popular newspaper commentary on Queensland frontier violence that had circulated earlier in Australia and Britain. The reception of Vogan's novel was mixed: while it reached a wide audience, it failed to prompt official action, and local and British reviewers charged him with sensationalism and ‘embellishment’. Vogan defended his work vehemently, asserting it was based on fact. Reviewers' scepticism stemmed, however, from Vogan's uneasy blend of realist narrative, grounded in eyewitness testimony, and the popular and sensational fictional and visual conventions he deployed. At the end of a period of intense frontier conflict in Queensland over the preceding three decades, Vogan's novel of protest and its ambivalent reception point to the limits of humanitarian influence within an Australian, intercolonial, and ultimately imperial framework. |
