Abstract

Although critics have been quick to identify the literary lumber Satchell brought with him to New Zealand in his reliance on outworn British plot conventions, such as the discovery of long-lost relatives and convenient legacies, little has been made of the one item of baggage Satchell borrowed and adapted to his own use in his fourth novel, The Greenstone Door, 1 which has generally been admitted to have had the greatest influence on later New Zealand novelists, including Sargeson.

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