He spent some time in Melbourne in 1924-25, writing satirical and light verse for the Herald and sub-editing Punch (where he met the illustrator, Joe Lynch).
Late in 1925 Punch closed, and in 1926 Slessor returned to Sydney and the Sun. Its sales, though meagre, were aided by the inclusion of three Norman Lindsay woodcuts.
Lindsay was anti-Semitic and aggressively anti-Christian, while holding to a vaguely Platonic view of an afterlife. He dismissed the poems of 'Banjo' Paterson, Henry Lawson and all the bush balladists.
To Slessor, poetry had only begun 'any consistent growth in Australia' 'with the publication of Mc Crae's Satyrs and Sunlight' (1909). Johnson, a bookseller, to edit Vision: a Literary Quarterly, which ran for only four issues.
The Schloessers were German-Jewish in origin, but without particular interest in Judaism; they were free-thinking, and included professional musicians in their ranks.
Robert had studied at Liège, Belgium, and made his children speak French at meals.
In 1917 his first publication, a dramatic monologue (spoken by a digger dying in Europe and remembering Sydney Harbour and Manly Beach) appeared in the Bulletin.
Next year, when he won the Victoria League's prize for a patriotic poem, 'Jerusalem Set Free', his poetry received attention in Australian newspapers.
Theirs was to be a sometimes tempestuous relationship, but Slessor was devoted to her, even after her death. Noëla, a slim brunette with grey eyes, was a Catholic—a source of anguish to Ken's Presbyterian mother.
That year Slessor met Norman Lindsay, Hugh Mc Crae and Jack Lindsay.