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December 2024, no. 471

In November, ABR surveys some of Australia’s most stimulating thinkers on Australia-US relations, asking whether our almost compulsive fascination with the US election is good for Australian democracy. Elsewhere, Josh Bornstein shows how corporations feed the social-media beast, and Ruth Balint cautions against mob politics in reporting. Paul Giles praises Tim Winton’s new novel and its ‘colloquial brevity’, and our reviewers consider new works by Michelle de Kretser, Alex Miller, Rachel Kushner, and Alan Hollinghurst. We examine life writing on Nancy Pelosi and Race Matthews, and books on film, theatre, law, heritage, robot tales, medicine, information networks, and much, much more.

Advances – December 2024
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ABR has had a long association with Readings, a Melbourne icon with eight stores across the city and a buoyant online shop. Readings – a regular Independent Bookseller of the Year over the years – is renowned for its customer service and the quality of its stock.

The Readings Foundation, created by Mark Rubbo in 2009, assists Victorian organisations that support the development of literacy, community integration, and the arts. Since 2009, the Readings Foundation has donated more than $2 million to organisations that support our most vulnerable people. 

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ABR Science Fellowship

Readers will recall Robyn Arianrhod’s August 2024 article on the paucity of outlets for science writing. In ‘Beyond the Mundane: Popular Science Writing in Our Literary Landscape’, she wrote:

[I]n-depth popular science writing is rarely rated as ‘literary’ by our literary gatekeepers. For instance, it rarely makes the shortlists of our non-fiction literary awards … When it does, the emphasis is on the social and political consequences of science, rather than on its ideas.

Robyn Arianrhod began writing for ABR in 2019 and has written for us sixteen times since then. She is one of too few science writers appearing in the magazine. We know from successive surveys that ABR readers would like to see more science in our pages.

Prompted by her article, we are delighted to announce the creation of the ABR Science Fellowship. The Fellowship is intended to advance the careers of science writers and to augment ABR’s coverage of science and the history of science. The Fellowship is worth $5,000.

The chosen Fellow will be able communicate sophisticated ideas in lucid and engaging language for a general audience. Any writer is eligible to apply: scientists, scholars, academics, journalists, commentators, creative writers, etc. The Fellow will contribute three review essays or commentaries over twelve months. We expect that the Fellowship will become a regular program, complementing the ABR Fellowships, of which we have offered about twenty-five since 2001.

Those interested have until 20 January to apply. See our website for Terms and Conditions and Frequently Asked Questions. ABR Editor Peter Rose will choose the Fellow with legendary science broadcaster Robyn Williams, who has hosted The Science Show on ABC Radio National since 1975.

The Fellowship is supported by a bequest from another contributor, Dr Ann Moyal AM (1926-2019), a historian noted for her work in the history of science. On page 64 of this issue, we republish Ann’s final article in ABR, a review of Peter Doherty’s book The Knowledge Wars, in which she writes: ‘Here is a moral philosopher deeply concerned with the need for a communal sense of “duty of care” … Become a player, he exhorts us; reconnect with nature, and buy into the critical thinking and evidence-based values of the science culture.’

‘Evidence-based values’: now there’s a notion worth championing at the end of this confounded year.

Readings and ABR

ABR has had a long association with Readings, a Melbourne icon with eight stores across the city and a buoyant online shop. Readings – a regular Independent Bookseller of the Year over the years – is renowned for its customer service and the quality of its stock.

The Readings Foundation, created by Mark Rubbo in 2009, assists Victorian organisations that support the development of literacy, community integration, and the arts. Since 2009, the Readings Foundation has donated more than $2 million to organisations that support our most vulnerable people. 

ABR is delighted to be part of the Readings Affiliate Program. Henceforth, online readers of ABR reviews will notice a link beneath the bibliographical details. If you wish to purchase a copy of that book you can do so via this link, which takes you to the Readings website.

ABR receives a small commission on items purchased through this link. It goes without saying that all ABR reviews are fully independent.

2025 Penguin Literary Prize

Now open, this $20,000 prize is one of the richest prizes for an unpublished manuscript and gives aspiring authors the chance to be published with Penguin Random House Australia. Recent winners include Annette Higgs, Michelle See-Tho, and Chloe Adams. Submissions are accepted from all Australians eighteen years and over. The prize closes on December 16.

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The Future of ABR Arts
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In 2013, Australian Book Review broadened its review content to include the arts. Since then we have reviewed theatre, film, opera, music, dance, and the visual arts – not just literature. This development was in response to the decline of arts criticism in our newspapers and in recognition of our readers’ eclectic interests.

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In 2013, Australian Book Review broadened its review content to include the arts. Since then we have reviewed theatre, film, opera, music, dance, and the visual arts – not just literature. This development was in response to the decline of arts criticism in our newspapers and in recognition of our readers’ eclectic interests.

Except for the early years of Covid-19, ABR Arts has covered 100 to 150 concerts, productions, and exhibitions per annum – most of them in Australia, but not exclusively. Since 2013 we have published more than 1,200 arts reviews. Australian Book Review is now established as one of the major publishers of expert, lengthy arts reviews.

Hitherto, unlike ABR’s other content, arts reviews have been open access for the first two to four weeks; then they have been paywalled and available only to current ABR subscribers.

This generous practice is no longer sustainable. ABR pays for all its arts reviews; much time and thought goes into the curation, commissioning, and publication of arts reviews. As an organisation without a large bequest or wealthy owner, we must do everything we can to protect and consolidate the magazine. Government funding has declined in recent years; in 2024, ABR received funding only from Arts South Australia. Paid advertising from the arts sector has proved hard to attract since the Covid pandemic.

ABR is committed to maintaining its arts profile and to offering readers and arts professionals high-quality reviews. To keep doing so, changes are unavoidable. Henceforth, as with all our other content, arts reviews will be paywalled from the outset (with occasional exceptions).

Current paid subscribers (print and/or online) will of course continue to have immediate access to every review in ABR Arts – all 1,200 of them in fact. No additional subscription is required.

If you are not a current ABR subscriber, you will need to subscribe to ABR or take up our new subscription model – ABR Arts – to retain access to our arts reviews. A full subscription to ABR gives you access to our entire digital archive going back to 1978 (print and/or online). A subscription to ABR Arts – costing only $50 per annum – gives you access to all our arts reviews the minute they are published online, plus access to all 1,200 arts reviews in our archive.

You will also know that you are contributing to the preservation and indeed extension of ABR’s arts coverage.

Those who have signed up for our free ABR Arts e-newsletter will continue to receive it each fortnight.

Happy reading! 

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Letters – December 2024
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Dear Editor,

In her review of Gary Browning’s Iris Murdoch and the Political (ABR, November 2024) Gillian Dooley notes, ‘After graduating from Oxford she worked in the Civil Service’, then, moves on without further ado to Murdoch’s postwar work with the United Nations Relief and Rehabilitation Administration. Dooley doesn’t mention the evidence that has emerged over the years – from Murdoch’s friends John Jones and Phillipa Foot – that she was still an active member of the Communist Party during World War II and passed on documents from government offices to the Communist Party.

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Iris Murdoch

Dear Editor,

In her review of Gary Browning’s Iris Murdoch and the Political (ABR, November 2024) Gillian Dooley notes, ‘After graduating from Oxford she worked in the Civil Service’, then, moves on without further ado to Murdoch’s postwar work with the United Nations Relief and Rehabilitation Administration. Dooley doesn’t mention the evidence that has emerged over the years – from Murdoch’s friends John Jones and Phillipa Foot – that she was still an active member of the Communist Party during World War II and passed on documents from government offices to the Communist Party.

Having set out this evidence in ‘On the Question Whether Iris Murdoch was a Soviet Spy’ (Overland, March 2022), I find it difficult to accept Iris Murdoch as a moral philosopher.

Sue Rabbitt Roff

 

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Neil Thomas reviews ‘On Xi Jinping: How Xi’s Marxist Nationalism is shaping China and the world’ by Kevin Rudd
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How does Xi Jinping think? China’s leader since late 2012 is one of the most important but least accessible people in the world. He does not give interviews. His lieutenants do not leak to reporters. His associates do not write tell-all memoirs. The Chinese Communist Party is a secretive organisation that dominates the country’s information ecosystem by censoring speech and crushing dissent. We therefore know precious little about how decisions get made in Beijing.

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How does Xi Jinping think? China’s leader since late 2012 is one of the most important but least accessible people in the world. He does not give interviews. His lieutenants do not leak to reporters. His associates do not write tell-all memoirs. The Chinese Communist Party is a secretive organisation that dominates the country’s information ecosystem by censoring speech and crushing dissent. We therefore know precious little about how decisions get made in Beijing.

Pundits abhor a vacuum and fill this void with what a journalist once described to me as ‘fan fiction’ about Chinese politics. Rumours about military coups, thinly sourced reports on factional strife, and bold claims of an imminent Taiwan invasion are staples of the genre. China watchers can disagree on basic, critical questions regarding Xi’s thinking: How long will he rule? Does he care about economic growth? Would domestic weakness make foreign aggression more or less likely?

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Kate McFadyen reviews ‘A Season of Death: A memoir’ by Mark Raphael Baker
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Mark Raphael Baker started writing this memoir on his first night in hospital after being diagnosed with pancreatic cancer in 2022. His wife, Kerryn, had died of a rare gastric cancer seven years before. His brother, Johnny, died of oesophageal cancer just two years after Kerryn. He is also reckoning with the death of his elderly father. The emotional intensity of these losses is the foundation of A Season of Death. ‘Three graves in five years,’ Baker writes. ‘While no number of deaths could make me indifferent to what awaits me, watching a sequence of deaths in the family has made me more prepared. I feel as though I have been trained or mentored in the art of dying.’

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Mark Raphael Baker started writing this memoir on his first night in hospital after being diagnosed with pancreatic cancer in 2022. His wife, Kerryn, had died of a rare gastric cancer seven years before. His brother, Johnny, died of oesophageal cancer just two years after Kerryn. He is also reckoning with the death of his elderly father. The emotional intensity of these losses is the foundation of A Season of Death. ‘Three graves in five years,’ Baker writes. ‘While no number of deaths could make me indifferent to what awaits me, watching a sequence of deaths in the family has made me more prepared. I feel as though I have been trained or mentored in the art of dying.’

Read more: Kate McFadyen reviews ‘A Season of Death: A memoir’ by Mark Raphael Baker

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‘82 Sentences, Each Taken from the “Last Statement” of a Person Executed by the State of Texas Since 1984’, a poem by Joe Kloc
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Frank Bongiorno reviews ‘A Political Memoir: Intellectual combat in the Cold War and the culture wars’ by Robert Manne
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Raimond Gaita is quoted in his close friend Robert Manne’s new memoir as saying that a ‘dispassionate judgement is not one which is uninformed by feeling, but one which is undistorted by feeling’. That distinction points to one of the many attractive qualities of A Political Memoir: Intellectual combat in the Cold War and the culture wars.

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Raimond Gaita is quoted in his close friend Robert Manne’s new memoir as saying that a ‘dispassionate judgement is not one which is uninformed by feeling, but one which is undistorted by feeling’. That distinction points to one of the many attractive qualities of A Political Memoir: Intellectual combat in the Cold War and the culture wars.

Manne is typically dispassionate in telling the story of his life, but there is an abundance of feeling. The Holocaust – in Manne’s words, the German state’s attempt ‘to rid the Earth of the Jewish people’ – has been the central reference point of his political thought and activity, shaping his understanding of the totalitarianisms of the left and right during his time as a conservative anti-communist through to his later engagements with the question of the Stolen Generations and the brutal government treatment of asylum seekers.

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Michael Winkler reviews ‘Australian Gospel: A family saga’ by Lech Blaine
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Lech Blaine. Lucky bastard. Great stories fall in his lap, like butterflies alighting on an open hand. All he has to do is write them up.

Oh, that it were so easy. Earning great material, in Blaine’s case, has meant more travails in three decades than some people endure in a lifetime. Surviving a horrific motor accident that claimed three young lives and profoundly damaged several others was grist for his first memoir, Car Crash (2021). The early death of his father, his mother’s decline through neurodegenerative illness, and managing a Bundaberg motel when his peers were attending university have produced compelling essays.

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Lech Blaine. Lucky bastard. Great stories fall in his lap, like butterflies alighting on an open hand. All he has to do is write them up.

Oh, that it were so easy. Earning great material, in Blaine’s case, has meant more travails in three decades than some people endure in a lifetime. Surviving a horrific motor accident that claimed three young lives and profoundly damaged several others was grist for his first memoir, Car Crash (2021). The early death of his father, his mother’s decline through neurodegenerative illness, and managing a Bundaberg motel when his peers were attending university have produced compelling essays.

Read more: Michael Winkler reviews ‘Australian Gospel: A family saga’ by Lech Blaine

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Sarah Day reviews ‘The Place of Tides’ by James Rebanks
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Readers who loved James Rebanks’s autobiographical The Shepherd’s Life: A tale of the Lake District (2015) a bestseller at home and abroad, translated into sixteen languages, and winner of numerous prizes – will welcome this new work. His first book tells the story of a recalcitrant youth who wants nothing more than to leave school early to work on his parents’ and grandparents’ farm. Eventually, he resumes his studies, which take him to Oxford, and begins his richly evocative account of his life as a Lake District shepherd. What magnifies and deepens this apparently simple narrative and surely accounts for its universal imaginative appeal is that the work he describes is the continuation of a tradition going back more than a thousand years. Against the backdrop of the Cumbrian massif, daily human and animal preoccupations, hardships, and rewards – subject as they are to season, weather, and geography – have changed little since the last Ice Age retreated. In 2017, the Lake District was given World Heritage status, in part for its continuous agro-pastoral traditions.

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Readers who loved James Rebanks’s autobiographical The Shepherd’s Life: A tale of the Lake District (2015) a bestseller at home and abroad, translated into sixteen languages, and winner of numerous prizes – will welcome this new work. His first book tells the story of a recalcitrant youth who wants nothing more than to leave school early to work on his parents’ and grandparents’ farm. Eventually, he resumes his studies, which take him to Oxford, and begins his richly evocative account of his life as a Lake District shepherd. What magnifies and deepens this apparently simple narrative and surely accounts for its universal imaginative appeal is that the work he describes is the continuation of a tradition going back more than a thousand years. Against the backdrop of the Cumbrian massif, daily human and animal preoccupations, hardships, and rewards – subject as they are to season, weather, and geography – have changed little since the last Ice Age retreated. In 2017, the Lake District was given World Heritage status, in part for its continuous agro-pastoral traditions.

Read more: Sarah Day reviews ‘The Place of Tides’ by James Rebanks

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Jonathan Ricketson reviews ‘The Season’ by Helen Garner
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Helen Garner has death on her mind. In recent decades, it has permeated her work in fascinating and unexpected ways. There is her novel The Spare Room (2008), which is about a woman’s struggles to care for a dying friend held hostage to dangerous delusions; This House of Grief (2014), a true-crime book about a devasting act of filicide; and, in her most recent volume of diaries, How to End a Story (2021), an account of the death of her marriage to the novelist Murray Bail.

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Helen Garner has death on her mind. In recent decades, it has permeated her work in fascinating and unexpected ways. There is her novel The Spare Room (2008), which is about a woman’s struggles to care for a dying friend held hostage to dangerous delusions; This House of Grief (2014), a true-crime book about a devasting act of filicide; and, in her most recent volume of diaries, How to End a Story (2021), an account of the death of her marriage to the novelist Murray Bail.

Read more: Jonathan Ricketson reviews ‘The Season’ by Helen Garner

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‘Scorecard’, a new poem by Michael Hofmann
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Jason Steger reviews ‘Noble Fragments: The maverick who broke up the world’s greatest book’ by Michael Visontay
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Michael Visontay’s Noble Fragments is about second chances, serendipitous connections, and simple good fortune. At its heart is a young man fleeing bankruptcy in Hungary who reinvents himself as a rare-book dealer in the United States and his impact on the Visontay family, which had survived the horrors of the Holocaust to become a classic example of Central European migration to Australia after World War II. The book deftly links an intriguing story about bibliophiles and the addiction that is rare-book collecting with the poignant tale of a traumatised son’s devotion to his father.

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Michael Visontay’s Noble Fragments is about second chances, serendipitous connections, and simple good fortune. At its heart is a young man fleeing bankruptcy in Hungary who reinvents himself as a rare-book dealer in the United States and his impact on the Visontay family, which had survived the horrors of the Holocaust to become a classic example of Central European migration to Australia after World War II. The book deftly links an intriguing story about bibliophiles and the addiction that is rare-book collecting with the poignant tale of a traumatised son’s devotion to his father.

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Books of the Year 2024
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Custom Highlight Text: William Dalrymple’s The Golden Road: How ancient India transformed the world (Bloomsbury, reviewed in ABR, 10/24) explores the ways in which India shaped the ancient (and by extension modern) world. This expansive work is brilliantly readable. I enjoyed it so much that I downloaded the recorded version, which Dalrymple himself narrates. This I have listened to twice. Dalrymple challenges the Western-centric view of history and highlights India’s under-appreciated impact on Asian and Western cultural and economic developments. My second selection is almost a diametrical opposite: a slim book written in incredible haste. Gideon Haigh’s My Brother Jaz (MUP) is an exploration of grief, guilt, remorse, and survival. In January 2024, Haigh impulsively and, one imagines, frenetically began writing about the night his seventeen-year-old brother Jasper was killed. He finished seventy-two hours later. My Brother Jaz is unflinching, painful, and anguished. It is also a remarkable exploration of what it means to go on, to live, to reconcile and remember.
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Lynette Russell

the golden road

William Dalrymple’s The Golden Road: How ancient India transformed the world (Bloomsbury, reviewed in ABR, 10/24) explores the ways in which India shaped the ancient (and by extension modern) world. This expansive work is brilliantly readable. I enjoyed it so much that I downloaded the recorded version, which Dalrymple himself narrates. This I have listened to twice. Dalrymple challenges the Western-centric view of history and highlights India’s under-appreciated impact on Asian and Western cultural and economic developments. My second selection is almost a diametrical opposite: a slim book written in incredible haste. Gideon Haigh’s My Brother Jaz (MUP) is an exploration of grief, guilt, remorse, and survival. In January 2024, Haigh impulsively and, one imagines, frenetically began writing about the night his seventeen-year-old brother Jasper was killed. He finished seventy-two hours later. My Brother Jaz is unflinching, painful, and anguished. It is also a remarkable exploration of what it means to go on, to live, to reconcile and remember.

James Bradley

Juice by Tim Winton

After too many years away, it was hugely exciting to have Tim Winton back with his climate epic, Juice (Hamish Hamilton, 11/24), a book that looks the horror of the climate crisis in the eyes and refuses to give way to despair. David Whish-Wilson also tackles environmental concerns in his gripping Cutler (Fremantle Press), a crime thriller set amid the violence of industrial fishing. Robbie Arnott’s Dusk (Picador, 10/24), a fantastical Western set in the Tasmanian high country, shows yet again that Arnott is a generational talent, while Kate Kruimink’s darkly funny and marvellously off-kilter Heartsease (Picador) should leave nobody in any doubt that she is one of the most interesting new writers working at present. On the non-fiction side of the fence, I admired Simon Cleary’s expansive account of his walk along the length of the Brisbane River, Everything is Water (UQP, 8/24) and Lauren Fuges’s stunning exploration of deep time and our uncertain future, Voyagers: Our journey into the Anthropocene (Text, 11/24).

Yves Rees

woo wooThis was a year of talented writers outdoing themselves: several pre-existing favourites released new books that pushed my admiration to fresh heights. Ella Baxter’s second novel Woo Woo (Allen & Unwin) is a gloriously unhinged paean to female power and creativity, inspired by the author’s experience of being stalked. In Unshrinking: How to fight fatphobia (Penguin), feminist philosopher Kate Manne builds on her earlier analyses of misogyny in Down Girl (2017) and Entitled (2020) with a lucid dissection of fatphobia that is her most personal and incisive work to date. Jazz Money’s second collection mark the dawn (UQP) is a feast of the Wiradjuri poet’s signature joyful lyricism – an energy I would pay good money to bottle. Sam Elkin manages to make bureaucracy and managerialism the stuff of high comedy in Detachable Penis: A queer legal saga (Upswell), a dark satire of contemporary work and queer politics concealed within a gender transition memoir.

Geordie Williamson

Highway 13For the revelation of Pedro Lemebel – beloved Chilean author and outspoken activist – I owe a debt to Gwendolyn Harper, translator of a selection of Lemebel’s essays, A Last Supper of Queer Apostles (Pushkin Press). These crónicas are, in Lemebel’s words, ‘a bastard genre’, taking in economics, history, poetry, and cultural criticism. They are brilliant, vivid, and passionately attentive to those who are voiceless in Latin America. Fiona McFarlane’s linked short story collection Highway 13 (Allen & Unwin, 9/24) has been squatting in my mental real estate for months. As a technical exercise, it is virtuosic; as a meditation on the nature of evil, it is simply chilling. Here is further proof that McFarlane is the most talented Australian author of her generation. Malcolm Knox is a writer for all seasons. His new novel, The First Friend (A&U, 10/24), triumphantly pulls off the impossible: making a surreal black comedy out of the terror inflicted by Stalin’s inner circle, particularly ‘connoisseur of homicide’, Lavrentiy Beria. A lacerating satire that never relinquishes full human feeling.

Clare Corbould

jamesThe heroes and villains in Percival Everett’s nineteenth novel, James (Mantle, 7/24), so lodged themselves in my mind that for two weeks I kept forgetting I had finished the book, dearly wanting to return to them. Everett uses his finely honed skills in irony and burlesque to mash-up a revision of Mark Twain’s Huckleberry Finn with a less-well-known genre of the nineteenth century, the slave narrative, created by people who managed to flee to the north. It’s wonderful; at once all too much and yet barely enough. Ever a sucker for history delivered on the back of a good character, I devoured A Day in the Life of Abed Salama: A Palestine story (Penguin). Journalist Nathan Thrall canvasses the history of Israel, mounting a powerful case that the apartheid state has moved inexorably to a second Nakba. The book was published in early October, 2023, and events since have proved him right.

Read more: Books of the Year 2024

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‘The Great Australian Denial: W.E.H. Stanner on mourning and disremembering’ by Bain Attwood
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W.E.H. Stanner’s coinage ‘the great Australian silence’ must be one of the best known in Australia’s modern history. It must also rank alongside Donald Horne’s ‘the lucky country’ as one of the least understood.

There is nothing remarkable about this phenomenon. The way a text is received by readers and listeners is seldom in keeping with its creator’s purpose or intention. This is so for several reasons. Most importantly perhaps, any text is open to being read in multiple ways, and in the case of canonical texts like Stanner’s that reception is usually fundamental to its impact.

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W.E.H. Stanner’s coinage ‘the great Australian silence’ must be one of the best known in Australia’s modern history. It must also rank alongside Donald Horne’s ‘the lucky country’ as one of the least understood.

There is nothing remarkable about this phenomenon. The way a text is received by readers and listeners is seldom in keeping with its creator’s purpose or intention. This is so for several reasons. Most importantly perhaps, any text is open to being read in multiple ways, and in the case of canonical texts like Stanner’s that reception is usually fundamental to its impact.

The way many understand Stanner’s ‘the great Australian silence’ is primarily a function of the way it has been received by professional historians. Most historians, not surprisingly, have interpreted his famous coinage in keeping with the cultural codes of their discipline rather than those of Stanner’s, which was anthropology.

At the very least, historians have tended to imply that Stanner was using the word ‘silence’ in its literal sense, thereby leading many to assume that this country’s Black (or Indigenous) past has seldom, if ever, been talked about. Stanner knew this was not the case. He was using ‘silence’ as a metaphor.

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Gabriella Coslovich reviews ‘Protecting Indigenous Art: From T-shirts to the flag’ by Colin Golvan
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In this important book, Colin Golvan – a distinguished senior counsel – recounts some of the most notorious cases of copyright abuses endured by Indigenous artists, their work taken without permission, attribution, or adequate compensation and used on objects ranging from souvenir T-shirts to expensive carpets. An intellectual property barrister, Golvan leads us through the intricacies of these cases with lawyerly precision and poise, championing the role of copyright in bringing justice to Indigenous people.

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In this important book, Colin Golvan – a distinguished senior counsel – recounts some of the most notorious cases of copyright abuses endured by Indigenous artists, their work taken without permission, attribution, or adequate compensation and used on objects ranging from souvenir T-shirts to expensive carpets. An intellectual property barrister, Golvan leads us through the intricacies of these cases with lawyerly precision and poise, championing the role of copyright in bringing justice to Indigenous people.

Protecting Indigenous Art offers a shocking account of the wilful disregard with which Indigenous art has been exploited by those keen to cash in on its popularity, and viewed as ripe for the picking, as though its creators had no rights. But it is also a book of hope, an illustration of how Western law can serve Indigenous people. Here, at least, the tables are turned. As Golvan writes: ‘Most court activity in remote parts of northern Australia is concerned with charges against Indigenous people for petty crimes. The cases I discuss were very different – the accused, in a figurative sense, was becoming the accuser.’

Golvan’s writing is tempered but never tepid. He writes with authority about copyright and with feeling about his unexpected path into Indigenous Australia. ‘As with many of the important events in life, it did not happen by reason of intention, careful planning or a deliberate ploy but thanks to a “sliding door” moment,’ Golvan writes, giving solace to all of us who continue to blunder through.

That ‘sliding door’ appeared in 1988, at the start of Golvan’s career as a barrister. He was listening to the ABC’s AM show about the need for new laws to protect Indigenous art from unlawful reproduction. This was at the height of exploitation, when artists’ works were often reproduced, on items such as on T-shirts, tea towels, dress fabrics, and restaurant menus – ironically during bicentennial celebrations marking the arrival of the First Fleet, an event that marked the dispossession of Indigenous people.

Golvan called the radio station to say that a new law was not needed, that copyright was the answer, and that he wanted those being interviewed on the program to know. He acknowledges a certain self-interest in phoning the radio station; as a fledgling barrister, he had no idea whether or how he would attract work, pay his mortgage, and feed his children.

‘I generally thought that people who contacted radio stations on an unsolicited basis to give their opinions were complete idiots but made a special exception for myself in this case,’ Golvan writes.

In response, Golvan received a call from the late Lin Onus, who told him, in typically direct style, that if Golvan was so clever he should help Lin and his fellow Indigenous artists ‘sort out the mess’. Lin instructed Golvan to ‘sue everyone’. ‘I had found my fellow traveller,’ Golvan writes.

This book is a continuation of Golvan’s urge to inform people of the power of copyright. It is also a paean to Indigenous art and a tribute to the Indigenous artists and leaders who fought for copyright protection, such as Wandjuk Marika, who, in 1976, wrote: ‘Imagine a publisher ignoring the copyright of Sidney Nolan or Russell Drysdale in the way in which my father and other famous Indigenous artists have been overlooked.’

Albert Namatjira, c.1950 (Northern Territory Library, via Wikimedia Commons)Albert Namatjira, c.1950 (Northern Territory Library, via Wikimedia Commons)

 

 

Golvan writes about Indigenous art and culture with sensitivity and insight developed through his travels to many remote communities in his work as a barrister. He describes the ‘profound personal impact’ of these travels and the often confronting conditions of remote communities, noting that if they were ‘repeated in our cities, there would be, and would need to be, outcry and action aplenty’.

At a time when pro-Palestine activists liken the dispossession of Indigenous people to that of the Palestinian people, Golvan draws another parallel – as a Jew whose family experienced ‘vicious racism culminating in a genocidal campaign that claimed the lives of millions in the 1940s’. This experience, he writes, ‘has given me a personal way into the problem of my Indigenous clients’ loss in the broadest sense’.

Golvan examines the legal cases that were among ‘the most important, memorable and rewarding’ of his career: the late Ganalbingu artist John Bulun Bulun’s fight against a T-shirt manufacturer; the appropriation of works by artists including George Milpurrurru, Dr B. Marika, Paddy Dhathangu, Tim Payungka Tjapangati, Uta Uta Tjangala, Tim Leura Tjapaltjarri, and George Garrawun as designs on costly carpets made in Vietnam; the unauthorised reproduction of north-eastern Arnhem Land Waramiri artist Terry Yumbulul’s ‘Morning Star Pole’ on the 1988 commemorative ten dollar banknote.

The chapter on Albert Namatjira is particularly poignant. In 1983, the late artist’s copyright was sold by the Northern Territory government to a non-Indigenous business, Legend Press, for a mere $8,300. The copyright was restored to the Namatjira family in October 2017, following a media and legal campaign. Golvan argues that Namatjira’s copyright should be extended in perpetuity as compensation for the thirty-five years of lost copyright payments and as a ‘significant national statement of regret and reconciliation to Australia’s artistic legacy – in particular as the person who introduced Indigenous artistry to the broader public’.

While copyright may be the ‘answer’ it is not without shortcomings, and Golvan suggests areas for reform. Copyright, for instance, fails to recognise the ‘communal’ or collective ownership that is central to Indigenous life.  Another hurdle is access and cost – agencies that support Indigenous artists in matters of law must be properly funded, Golvan writes. So, too, must regulators such as the Australian Competition and Consumer Commission, which can protect Indigenous art from false representations including fakery.

Golvan devotes a chapter to fakery, outlining the many forms it takes and how here, too, the Copyright Act and Australian Consumer Law can be used against unscrupulous operators. Here, Golvan reviews the biggest art controversy of last year, the so-called ‘white hands on black art’ scandal that dominated headlines in The Australian newspaper. White art advisers working for the APY Art Centre Collective stood accused of deceitfully participating in the creation of Indigenous works. Golvan was part of the independent legal team appointed to investigate these accusations and concluded that they were unfounded. I wish Golvan had written in more detail about the experience and his views on the case and media furore surrounding it, but he maintains a lawyerly distance and reinforces the findings that were released in August 2023.

Indigenous art is widely celebrated as a vital expression of Australian visual culture and national identity. Regrettably, this doesn’t always extend to its creators being treated with equal respect. Colin Golvan has done us a great service in documenting this historic record of copyright breaches and showing what further work must to be done to safeguard Indigenous artists’ rights.

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‘Smoke’, a new poem by Karen Solie
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The first morning on waking
I thought it was fog, or mist, I thought it had rained,
but the ground was dry. 

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The first morning on waking
I thought it was fog, or mist, I thought it had rained,
but the ground was dry. 

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David Jack reviews ‘Annihilation’ by Michel Houellebecq
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Michel Houellebecq’s novels cover a lot of territory. His approach to writing is a totalising one, offering a complex picture of contemporary society, often including its prehistory and its near or sometimes distant future. Annihilation (first published in 2022 and now available in English) bears all the hallmarks of this approach: a description of a sad dinner where two government ministers discuss their failed marriages is interrupted by digressions on the current state of the European car market and the impact of recent constitutional reforms on the upcoming presidential elections; a hospital bedside visit is punctuated by reflections on the French medical system and a comparative analysis of Tibetan and Zen Buddhism. The novel features typical Houellebecqian characters who, in the author’s words, have reached a ‘kind of standardised despair’ and ‘the deterioration of reasons for living’.

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Book 1 Title: Annihilation
Book Author: Michel Houellebecq, translated from the French by Shaun Whiteside
Book 1 Biblio: Picador, $34.99 pb, 527 pp
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Michel Houellebecq’s novels cover a lot of territory. His approach to writing is a totalising one, offering a complex picture of contemporary society, often including its prehistory and its near or sometimes distant future. Annihilation (first published in 2022 and now available in English) bears all the hallmarks of this approach: a description of a sad dinner where two government ministers discuss their failed marriages is interrupted by digressions on the current state of the European car market and the impact of recent constitutional reforms on the upcoming presidential elections; a hospital bedside visit is punctuated by reflections on the French medical system and a comparative analysis of Tibetan and Zen Buddhism. The novel features typical Houellebecqian characters who, in the author’s words, have reached a ‘kind of standardised despair’ and ‘the deterioration of reasons for living’.

Read more: David Jack reviews ‘Annihilation’ by Michel Houellebecq

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James Ley reviews ‘Intermezzo’ by Sally Rooney
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Sally Rooney inspires large quantities of what is known these days as ‘discourse’. This dubious honour is a result of her becoming very successful at a very young age, a misfortune compounded by being cast as a generational representative. She is a ‘millennial’, apparently. Her popularity has not gone unpunished. There have been several high-profile attempts to cut her reputation down to size. She is also Irish, which has led to her being scorned as a privileged white woman, the Irish people famously knowing nothing of suffering and oppression.

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Sally Rooney inspires large quantities of what is known these days as ‘discourse’. This dubious honour is a result of her becoming very successful at a very young age, a misfortune compounded by being cast as a generational representative. She is a ‘millennial’, apparently. Her popularity has not gone unpunished. There have been several high-profile attempts to cut her reputation down to size. She is also Irish, which has led to her being scorned as a privileged white woman, the Irish people famously knowing nothing of suffering and oppression.

Rooney has kicked the discourse along by claiming to be a Marxist: an open invitation for critics to point out the many ways her novels have not incited the proletariat to seize the means of production. But her political identification, like the curiosity about Christianity that is threaded through her work, speaks to the present in a particular way. Beyond the intermittent passages where her characters note the exploitative features of their society or reflect on the teachings of Jesus, Rooney is interested in the underlying despair of a world where redemptive narratives have little traction. Her characters want to believe things could be less awful, but they don’t really expect a better world to eventuate, nor do they strive to bring it about. They are, by temperament, neither activists nor churchgoers. The exception to this rule – Simon from Beautiful World, Where Are You (2021) – presents a luminous image of virtue that borders on parodic. An observant Catholic, who fights the good political fight with a progressive not-for-profit organisation, Simon also happens to be a six-foot-three dreamboat and a notably gentle and considerate lover. In the end, he doesn’t think his good works make much difference either.

Read more: James Ley reviews ‘Intermezzo’ by Sally Rooney

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Cassandra Atherton reviews ‘The City and Its Uncertain Walls’ by Haruki Murakami
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Part one of Haruki Murakami’s The City and Its Uncertain Walls – a homage to magical realism and some of its greatest proponents, including Jorge Luis Borges and Gabriel García Márquez – presents an unnamed narrator searching for truth in a fantastical library behind a guarded wall. The two further parts also explore the idea of the inhabitation of libraries. Indeed, this will be familiar to Murakami’s readers, for he has written about libraries before. For instance, in his children’s novella The Strange Library (1983) a schoolboy is imprisoned in the under-ground maze of his local library and told to memorise books.

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Book Author: Haruki Murakami, translated from the Japanese by Philip Gabriel
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Part one of Haruki Murakami’s The City and Its Uncertain Walls – a homage to magical realism and some of its greatest proponents, including Jorge Luis Borges and Gabriel García Márquez – presents an unnamed narrator searching for truth in a fantastical library behind a guarded wall. The two further parts also explore the idea of the inhabitation of libraries. Indeed, this will be familiar to Murakami’s readers, for he has written about libraries before. For instance, in his children’s novella The Strange Library (1983) a schoolboy is imprisoned in the under-ground maze of his local library and told to memorise books.

Read more: Cassandra Atherton reviews ‘The City and Its Uncertain Walls’ by Haruki Murakami

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Jane Sullivan reviews ‘Mural’ by Stephen Downes
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When you are languishing in a prison cell, you can become intensely creative. John Bunyan, Jean Genet, and Miguel de Cervantes used their time to write classic works of literature. On the eve of his hanging, Louis D’Ascoyne Mazzini wrote a memoir to explain why he set out to murder eight people. Louis is fictional, the anti-hero of the film Kind Hearts and Coronets (1949).

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When you are languishing in a prison cell, you can become intensely creative. John Bunyan, Jean Genet, and Miguel de Cervantes used their time to write classic works of literature. On the eve of his hanging, Louis D’Ascoyne Mazzini wrote a memoir to explain why he set out to murder eight people. Louis is fictional, the anti-hero of the film Kind Hearts and Coronets (1949).

The narrator named D in Mural is also fictional, and he is a prisoner in an Australian psychiatric institution, guilty of unspecified but hideously violent crimes. It turns out he is as smart and wily as Hannibal Lecter, if more inclined to ramble.

Read more: Jane Sullivan reviews ‘Mural’ by Stephen Downes

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Backstage with David Hallberg
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David Hallberg was a principal dancer with American Ballet Theatre and the Bolshoi Ballet, a principal guest artist with The Royal Ballet, and resident guest artist with The Australian Ballet. He is the author of a critically acclaimed memoir, A Body of Work: Dancing to the edge and back (2017). He made history in 2011 when he became the first American to join the Bolshoi Ballet under the title premier dancer. In 2021, David Hallberg became the eighth artistic director of The Australian Ballet. 

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David Hallberg (photograph by Pierre Toussain)David Hallberg was a principal dancer with American Ballet Theatre and the Bolshoi Ballet, a principal guest artist with The Royal Ballet, and resident guest artist with The Australian Ballet. He is the author of a critically acclaimed memoir, A Body of Work: Dancing to the edge and back (2017). He made history in 2011 when he became the first American to join the Bolshoi Ballet under the title premier dancer. In 2021, David Hallberg became the eighth artistic director of The Australian Ballet. 

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Foong Ling Kong is Publisher & CEO at Melbourne University Publishing. Over a two-decade trade publishing career, she has commissioned and edited predominantly non-fiction titles for several Australian publishers. Before her returning to Melbourne University Publishing, where she was Executive Publisher from 2006 to 2010, she was Editor of Debates for the Legislative Assembly at the Parliament of Victoria. She was on the boards of the Stella Prize and Overland, and managing editor of Anne Summers Reports.

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Foong Ling KongFoong Ling Kong is Publisher & CEO at Melbourne University Publishing. Over a two-decade trade publishing career, she has commissioned and edited predominantly non-fiction titles for several Australian publishers. Before her returning to Melbourne University Publishing, where she was Executive Publisher from 2006 to 2010, she was Editor of Debates for the Legislative Assembly at the Parliament of Victoria. She was on the boards of the Stella Prize and Overland, and managing editor of Anne Summers Reports.

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Allan Behm reviews ‘Something Lost, Something Gained: Reflections on life, love, and liberty’ by Hillary Rodham Clinton
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For Hillary Rodham Clinton’s admirers, Something Lost, Something Gained cements her place in America’s political pantheon. For her detractors, well, it probably confirms their view. When autobiography morphs into autohagiography, the result is always the same – self-promotion and self-justification become coterminous. Anodyne description masquerades as deep insight, and triviality promotes the Panglossian self-satisfaction that denies the reader any insight into how the author overcame more than her fair share of embarrassment and setbacks.

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For Hillary Rodham Clinton’s admirers, Something Lost, Something Gained cements her place in America’s political pantheon. For her detractors, well, it probably confirms their view. When autobiography morphs into autohagiography, the result is always the same – self-promotion and self-justification become coterminous. Anodyne description masquerades as deep insight, and triviality promotes the Panglossian self-satisfaction that denies the reader any insight into how the author overcame more than her fair share of embarrassment and setbacks.

At the same time, Clinton is a stolidly engaging writer – or more accurately one suspects, narrator – who is capable of some profundity. She is guarded in dealing with the emotional and personal dimensions of her privileged life, especially in evaluating the compromises she evidently made and assessing whether they were worth it. Moreover, she harbours a decidedly utopian view of the America in which she grew up, its exceptionalism and myths.

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Clinton Fernandes reviews ‘The End of Empires and a World Remade: A global history of decolonization’ by Martin Thomas
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The End of Empires and a World Remade is Martin Thomas’s magnum opus. Subtitled ‘A global history of decolonisation’, it is more than 600 pages long, of which nearly 300 pages consist of Notes and Bibliography covering more than 2,000 articles and books. The overwhelming majority of these were published in the twenty-first century – an indication of the burgeoning academic interest in decolonisation.

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The End of Empires and a World Remade is Martin Thomas’s magnum opus. Subtitled ‘A global history of decolonisation’, it is more than 600 pages long, of which nearly 300 pages consist of Notes and Bibliography covering more than 2,000 articles and books. The overwhelming majority of these were published in the twenty-first century – an indication of the burgeoning academic interest in decolonisation.

The book is divided into two parts. The first, consisting of three chapters, is called Globalising Decolonization. It does the analytical heavy lifting, exploring definitions of decolonisation and its associated concepts. Thomas is keen to show the connection between the end of empires in the twentieth century (decolonisation) and globalisation. He distinguishes between land-based and oceanic empires. The former were geographically contiguous areas, configured around a dominant ethnic group, and ruled by a central authority such as Imperial Russia, Qing China, Ottoman Turkey, and the Habsburg Empire. They came apart as a result of war, revolution, and ethno-nationalist claims. By contrast, the oceanic empires of Spain, Portugal, the Netherlands, France, Britain, the United States, and Japan were ruled from metropolitan centres with enough naval power to control geographically separated territories on multiple continents. Thomas is primarily concerned with the ending of these oceanic empires.

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Adrian Walsh reviews ‘The Privileged Few’ by Clive Hamilton and Myra Hamilton
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This new book by Clive Hamilton and Myra Hamilton provides a detailed and elegantly written analysis of the nature and causes of inequality in Australia – a problem that has increased markedly over the past forty years. The study focuses on the role of élite privilege, rather than on wealth itself. The authors assert that élite privilege – which they regard as a species of advantage distinct from that of male and racial privilege – has not been sufficiently theorised and, more importantly, is hidden in plain view. The aim of the book is to ‘make visible the practices, beliefs and attitudes that characterise elite privilege and allow its reproduction’. A large part of the book, written by this father and daughter team, is concerned with demonstrating the ways in which the non-meritocratic nature of Australian society is systematically concealed.

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Book 1 Biblio: Polity, $24.95 pb, 251 pp
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This new book by Clive Hamilton and Myra Hamilton provides a detailed and elegantly written analysis of the nature and causes of inequality in Australia – a problem that has increased markedly over the past forty years. The study focuses on the role of élite privilege, rather than on wealth itself. The authors assert that élite privilege – which they regard as a species of advantage distinct from that of male and racial privilege – has not been sufficiently theorised and, more importantly, is hidden in plain view. The aim of the book is to ‘make visible the practices, beliefs and attitudes that characterise elite privilege and allow its reproduction’. A large part of the book, written by this father and daughter team, is concerned with demonstrating the ways in which the non-meritocratic nature of Australian society is systematically concealed.

The Privileged Few begins with a discussion of what we might call ‘Covid exceptionalism’. They state that our pandemic and lockdown experience shows that a ‘minority of people in privileged positions were granted special benefits and rights withheld from the rest’. In Melbourne, for instance, residents of some of the wealthiest suburbs escaped the city’s strict travel restrictions by moving to their seaside residences in places such as Lorne and Portsea; and this was true across the country.

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Anders Villani reviews ‘Raging Grace: Australian writers speak out on disability’ edited by Andy Jackson, Esther Ottaway, and Kerry Shying
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In a 2010 interview, Tobin Siebers, the author of Disability Theory and Disability Aesthetics, argued that ‘[d]isability still seems to be the last frontier of justifiable human inferiority’. At the same time, he suggested, the evolution and success of modern art owed much to ‘its embrace of disability as a distinct version of the beautiful’: ‘No object has a greater capacity to be accepted at the present moment as an aesthetic representation than the disabled body.’ A central problem for Siebers was the disconnect between ‘two cultures of beauty’. Could the ‘aesthetic culture’ that celebrated disability influence the dominant ‘commercial culture’ that stigmatised it?

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Book 1 Subtitle: Australian writers speak out on disability
Book Author: Andy Jackson, Esther Ottaway, and Kerry Shying
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In a 2010 interview, Tobin Siebers, the author of Disability Theory and Disability Aesthetics, argued that ‘[d]isability still seems to be the last frontier of justifiable human inferiority’. At the same time, he suggested, the evolution and success of modern art owed much to ‘its embrace of disability as a distinct version of the beautiful’: ‘No object has a greater capacity to be accepted at the present moment as an aesthetic representation than the disabled body.’ A central problem for Siebers was the disconnect between ‘two cultures of beauty’. Could the ‘aesthetic culture’ that celebrated disability influence the dominant ‘commercial culture’ that stigmatised it?

The Raging Grace anthology is an outcome of Andy Jackson’s Writing the Future of Health Fellowship at RMIT University. Jackson’s Prime Minister’s Literary Award-winning collection Human Looking (2021) brought the poetic study of disability to a national audience. Raging Grace, which he co-edited with Esther Ottaway and Kerri Shying, extends that project. A kind of summit for writers with a disability, neurodivergent writers, and/or writers with chronic pain, it appears at an inflection point for attitudes towards disability in Australia. The 2023 review of the National Disability Insurance Scheme (NDIS), while identifying shortcomings in the taxpayer-funded scheme, has also led to contentious policy changes, and a troubling public perception of participants as wasteful – even fraudulent – spenders. Those participants risk becoming scapegoats for lax government oversight. As debates over the scheme roil, the persons it supports lose visibility, humanity – lose the ‘genuine voice’ on which, Jackson argues, the ‘future of health’ for disabled people depends. 

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Paul Giles reviews ‘The Playbook: A story of theatre, democracy and the making of a culture war’ by James Shapiro
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James Shapiro, a professor of English at Columbia University in New York, starts his new book with an epigraph listing two dictionary definitions of ‘playbook’: ‘[a] book containing the scripts of dramatic plays’, but also a ‘set of tactics frequently employed by one engaged in a competitive activity’. The Playbook turns on bringing these two definitions together. It argues that the Federal Theatre Project that developed in the United States between 1935 and 1939, as part of Franklin D. Roosevelt’s New Deal program, was effectively scuppered by the political machinations of ambitious Texas congressman Martin Dies. In 1938, the wily Dies succeeded in setting up the House Un-American Activities Committee (HUAC), with himself at its head. HUAC became notorious during the Cold War, under the direction of Joseph McCarthy, for its persecution of political dissenters. Shapiro’s thesis is that its nefarious influence began earlier, with the democratic principles he regards as inherent in theatre being peremptorily shut down by Dies’s political opportunism. Shapiro presents this conflict as a forerunner of more recent American culture wars driven by Pat Buchanan in the early 1990s through to Donald Trump in the present day.

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Book 1 Subtitle: A story of theatre, democracy and the making of a culture war
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James Shapiro, a professor of English at Columbia University in New York, starts his new book with an epigraph listing two dictionary definitions of ‘playbook’: ‘[a] book containing the scripts of dramatic plays’, but also a ‘set of tactics frequently employed by one engaged in a competitive activity’. The Playbook turns on bringing these two definitions together. It argues that the Federal Theatre Project that developed in the United States between 1935 and 1939, as part of Franklin D. Roosevelt’s New Deal program, was effectively scuppered by the political machinations of ambitious Texas congressman Martin Dies. In 1938, the wily Dies succeeded in setting up the House Un-American Activities Committee (HUAC), with himself at its head. HUAC became notorious during the Cold War, under the direction of Joseph McCarthy, for its persecution of political dissenters. Shapiro’s thesis is that its nefarious influence began earlier, with the democratic principles he regards as inherent in theatre being peremptorily shut down by Dies’s political opportunism. Shapiro presents this conflict as a forerunner of more recent American culture wars driven by Pat Buchanan in the early 1990s through to Donald Trump in the present day.

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John Hawke reviews ‘Why Surrealism Matters’ by Mark Polizzotti
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Like its precursor movements in the modernist avant-garde (Futurism, Cubism, Dada), Surrealism was primarily initiated as an innovation in poetry. The central Surrealist activities were the collaborative experiments in automatic writing, influenced by psychologist Pierre Janet’s Psychic Automatism (1889) and, in poetics, by Pierre Reverdy’s theory of the image as ‘the juxtaposition of two more or less distanced realities’. These experiments, undertaken between 1919 and 1923 by André Breton and his associates (Phillippe Soupault, Louis Aragon, Paul Eluard, Robert Desnos, and others), provide the theoretical basis for Breton’s 1924 ‘Manifesto of Surrealism’, the main tenets of which he would follow consistently for the next forty years.

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Like its precursor movements in the modernist avant-garde (Futurism, Cubism, Dada), Surrealism was primarily initiated as an innovation in poetry. The central Surrealist activities were the collaborative experiments in automatic writing, influenced by psychologist Pierre Janet’s Psychic Automatism (1889) and, in poetics, by Pierre Reverdy’s theory of the image as ‘the juxtaposition of two more or less distanced realities’. These experiments, undertaken between 1919 and 1923 by André Breton and his associates (Phillippe Soupault, Louis Aragon, Paul Eluard, Robert Desnos, and others), provide the theoretical basis for Breton’s 1924 ‘Manifesto of Surrealism’, the main tenets of which he would follow consistently for the next forty years.

Read more: John Hawke reviews ‘Why Surrealism Matters’ by Mark Polizzotti

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Abi Stephenson reviews ‘Madrid: A new biography’ by Luke Stegemann
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‘Well, I always liked Madrid!’ is my father’s verdict on the city; a verbal shrug that manages both to damn with faint praise and gesture at a powerful, unspoken criticism. There is some truth in both: Madrid often finds herself crowded out of ‘Great Cities of the World’ lists and has struggled to win top billing as a tourist attraction, even within Spain itself. The perpetual bridesmaid, despite her official capital status (hello Ottawa, Ankara, and Canberra), she has long been forced to hold the glittering train of Gaudí’s Barcelona. It has taken the zeal and outsider’s gaze of a convert – the accomplished Australian writer and honorary madrileño, Luke Stegemann – to draw her from the shadows in a self-described ‘expression of love … and act of recovery’.

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Book 1 Biblio: Yale University Press, US$35 hb, 475 pp
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‘Well, I always liked Madrid!’ is my father’s verdict on the city; a verbal shrug that manages both to damn with faint praise and gesture at a powerful, unspoken criticism. There is some truth in both: Madrid often finds herself crowded out of ‘Great Cities of the World’ lists and has struggled to win top billing as a tourist attraction, even within Spain itself. The perpetual bridesmaid, despite her official capital status (hello Ottawa, Ankara, and Canberra), she has long been forced to hold the glittering train of Gaudí’s Barcelona. It has taken the zeal and outsider’s gaze of a convert – the accomplished Australian writer and honorary madrileño, Luke Stegemann – to draw her from the shadows in a self-described ‘expression of love … and act of recovery’.

While you won’t find a specific shelf-header devoted to them, ‘city biographies’ have become a definite literary sub-genre. Not quite at home alongside the salty self-discoveries and epic voyages of travel writing, but not straightforwardly works of history or geography either, books such as Peter Ackroyd’s London: The biography (2000), Colin Jones’s Paris: Biography of a city (2004), and Jan Morris’s Venice (1960) used to fox me as a bookseller on shelving duty. All are natural heirs to the alchemical shift of modernism (and later, the psychogeographies of postmodernism), when the metropolis ceased being conceived as a passive backdrop to our lives, and became a shifting, acting protagonist in itself. To attempt an epoch-spanning cultural project like this is ambitious; it takes a prodigious amount of research (and translation in this case), but also demands its subject be treated with the reverence and attention one would offer a living being. You have to fall in love – or already be in love – with your city-organism. It is clear from Stegemann’s purposeful, passionate homage that he is as devoted a lover as they come.

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Open Page with Susan Hawthorne
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Susan Hawthorne is the author/editor of thirty books of fiction, poetry, and non-fiction. Her latest book, Lesbian: Politics, culture, existence (Spinifex Press), interweaves her thinking about these subjects over a fifty-year period. She has worked in Indigenous education and has taught English as a second language to Arabic-speaking women. For fifteen years, she was an aerialist in two women’s circuses. She researched the torture of lesbians on which her novel Dark Matters is based.

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Susan Hawthorne (photograph by Susan Kelly)Susan Hawthorne
(photograph by Susan Kelly)
Susan Hawthorne is the author/editor of thirty books of fiction, poetry, and non-fiction. Her latest book, Lesbian: Politics, culture, existence (Spinifex Press), interweaves her thinking about these subjects over a fifty-year period. She has worked in Indigenous education and has taught English as a second language to Arabic-speaking women. For fifteen years, she was an aerialist in two women’s circuses. She researched the torture
of lesbians on which her novel Dark Matters is based.

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Michael Roberts reviews ‘The Football War: The VFA and VFL’s battle for supremacy’ by Xavier Fowler
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Imagine the uproar if Nick Daicos left Collingwood tomorrow, seduced by a huge financial offer from a rival Australian football competition. Imagine if the reigning Brownlow Medallist, Patrick Cripps, followed suit, then Christian Petracca and Charlie Curnow and more. Chaos would ensue.

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Book 1 Title: The Football War
Book 1 Subtitle: The VFA and VFL’s battle for supremacy
Book Author: Xavier Fowler
Book 1 Biblio: Melbourne University Press, $39.99 pb, 306 pp
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Imagine the uproar if Nick Daicos left Collingwood tomorrow, seduced by a huge financial offer from a rival Australian football competition. Imagine if the reigning Brownlow Medallist, Patrick Cripps, followed suit, then Christian Petracca and Charlie Curnow and more. Chaos would ensue.

Welcome to the world of football in the late 1930s. The Victorian Football League (VFL) was as dominant then as its successor, the Australian Football League (AFL), is now, and the likelihood of a challenger emerging seemed just as remote. But that’s exactly what the Victorian Football Association (VFA) did, launching a bold and audacious bid for footballing primacy. Poaching the League’s stars was just the VFA’s most high-profile strategy. Other changes made its version of Australian football a genuine alternative and pitted the two bodies against each other in a brief but no-holds-barred battle.

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Tim Loveday reviews ‘Fragile Creatures: A memoir’ by Khin Myint
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In his seminal book I Don’t Want To Talk About It (1997), Terrence Real outlines how contemporary men, within the frameworks of white-supremacist capitalist patriarchy, must undergo a severing of self from self, and self from community. Real identifies how the so-called masculine power attained through this severing comes from a ‘one down’ position in which the struggle for ‘power over’, rather than ‘power with’, is a central doctrine of what he calls ‘patriarchal masculinity’. This power over, rather than power with, is similarly manifest in international governance, statehood, community and the family unit itself – and it is even manifest in the representation of male characters in Australian literature.

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‘Under patriarchy, men cannot be both powerful and connected.’

Terrence Real, 2020

In his seminal book I Don’t Want To Talk About It (1997), Terrence Real outlines how contemporary men, within the frameworks of white-supremacist capitalist patriarchy, must undergo a severing of self from self, and self from community. Real identifies how the so-called masculine power attained through this severing comes from a ‘one down’ position in which the struggle for ‘power over’, rather than ‘power with’, is a central doctrine of what he calls ‘patriarchal masculinity’. This power over, rather than power with, is similarly manifest in international governance, statehood, community and the family unit itself – and it is even manifest in the representation of male characters in Australian literature.

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Francesca Newton reviews ‘Seven Children: Inequality and Britain’s next generation’ by Danny Dorling
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Britain today is no place for young people. The evidence is as familiar as it is stark. One million of the nation’s fourteen million children experienced destitution in 2022, meaning that their families could not afford to adequately feed or clothe them or keep them warm. In 2024, a record 150,000 lived in temporary accommodation in England. The long-standing decline in infant mortality has stalled. Facts like these, concerning the families struggling most, are often cited as proof of atrophy under Conservative austerity (which, while destructive in its own right, degraded Britain’s resilience against Covid-19 and the energy crisis that followed) and as indicators of the issues that Keir Starmer’s new Labour government should prioritise. But what do we miss by focusing on the worst-off?

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Britain today is no place for young people. The evidence is as familiar as it is stark. One million of the nation’s fourteen million children experienced destitution in 2022, meaning that their families could not afford to adequately feed or clothe them or keep them warm. In 2024, a record 150,000 lived in temporary accommodation in England. The long-standing decline in infant mortality has stalled. Facts like these, concerning the families struggling most, are often cited as proof of atrophy under Conservative austerity (which, while destructive in its own right, degraded Britain’s resilience against Covid-19 and the energy crisis that followed) and as indicators of the issues that Keir Starmer’s new Labour government should prioritise. But what do we miss by focusing on the worst-off?

Read more: Francesca Newton reviews ‘Seven Children: Inequality and Britain’s next generation’ by Danny Dorling

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Michael Halliwell reviews ‘No Autographs, Please! A backstage pass to life in the chorus – the stars who take their bow from the second row’ by Katherine Wiles
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It is a cliché of the operatic world that all members of the chorus are frustrated or failed soloists. The traditional operatic pathway frequently emerges from the chance discovery of a singing voice with potential, followed by an exploration of opportunities to develop this as yet untapped ability. This usually means enrolment in a university vocal program, sometimes followed by postgraduate degrees. In the past, this was not always the case with many instances of highly renowned singers being ‘discovered’ under the most unlikely circumstances while pursuing very different occupations, often with limited or no musical training.

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It is a cliché of the operatic world that all members of the chorus are frustrated or failed soloists. The traditional operatic pathway frequently emerges from the chance discovery of a singing voice with potential, followed by an exploration of opportunities to develop this as yet untapped ability. This usually means enrolment in a university vocal program, sometimes followed by postgraduate degrees. In the past, this was not always the case with many instances of highly renowned singers being ‘discovered’ under the most unlikely circumstances while pursuing very different occupations, often with limited or no musical training.

Soprano Katherine Wiles followed the traditional path of a BMus Performance at Auckland University followed by a Masters at the Royal Scottish Academy of Music. She opens her fascinating and heart-warming account of her career with the following observations:

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Paul Strangio reviews ‘Race Mathews: A life in politics’ by Iola Mathews
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I first encountered Race Mathews in the early 2000s, around the time of the publication of my biography of Jim Cairns. He struck me as reserved and cerebral, but generous. As national secretary of the Australian Fabian Society, he invited me to deliver a talk about the biography at the Melbourne Trades Hall. Following Cairns’s death in late 2003, Mathews initiated a Jim Cairns Memorial Lecture as a joint endeavour between the Fabian Society and several university ALP clubs. What struck me about this was that Mathews and Cairns had been from different wings of the Labor Party, the former probably the most fervent disciple of Gough Whitlam, a philosophical and leadership rival to Cairns, and yet here he was helping to preserve the memory of Cairns. It suggested a refreshing ecumenicalism, an open-minded, enquiring spirit.

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I first encountered Race Mathews in the early 2000s, around the time of the publication of my biography of Jim Cairns. He struck me as reserved and cerebral, but generous. As national secretary of the Australian Fabian Society, he invited me to deliver a talk about the biography at the Melbourne Trades Hall. Following Cairns’s death in late 2003, Mathews initiated a Jim Cairns Memorial Lecture as a joint endeavour between the Fabian Society and several university ALP clubs. What struck me about this was that Mathews and Cairns had been from different wings of the Labor Party, the former probably the most fervent disciple of Gough Whitlam, a philosophical and leadership rival to Cairns, and yet here he was helping to preserve the memory of Cairns. It suggested a refreshing ecumenicalism, an open-minded, enquiring spirit.

Iola Mathews’s affectionate but considered biography of her husband of half a century confirms this and more. Now aged eighty-nine and living with Alzheimer’s disease, he emerges from its pages as an indefatigable and significant Labor activist and social reformer. He has been that relatively rare thing in the party: a trader in ideas, an intellectual in politics. Until reading the book, I had not quite grasped his myriad roles: schoolteacher, shire councillor, agitator for reform of the Victorian Labor Party, clinical speech therapist, Fabian Society dynamo, principal private secretary to Whitlam in Opposition, policy architect, ALP member for the federal seat of Casey (1972-75), principal private secretary to state Labor opposition leaders Clyde Holding and Frank Wilkes, ALP member for the state seat of Oakleigh (1979-92), a senior and activist minister in the Cain Labor government, academic and author, and elder statesman and conscience of Labor. His has been a full and impactful life.

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Nick Haslam reviews ‘Spectacles of Waste’ by Warwick Anderson
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In a survey on humanity’s most vital inventions, the British public ranked the flush toilet above mobile phones, beds, shoes, and the combustion engine. Who can blame them? In a well-sewered world, we are protected from many of the infectious diseases that contributed to making our unplumbed ancestors’ lives nasty, brutish, and short. Cholera, hepatitis, polio, and the diarrhoeal diseases that continue to kill more people globally than acts of violence all implicate faecal transmission. It seems only rational to dispatch our excrement as quickly as possible in a cleansing torrent of water.

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Alt Tag (Featured Image): Nick Haslam reviews ‘Spectacles of Waste’ by Warwick Anderson
Book 1 Title: Spectacles of Waste
Book Author: Warwick Anderson
Book 1 Biblio: Polity, £14.99 pb, 184 pp
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Book 1 Readings Link: https://www.readings.com.au/product/9781509557417/spectacles-of-waste--warwick-anderson--2024--9781509557417#rac:jokjjzr6ly9m
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In a survey on humanity’s most vital inventions, the British public ranked the flush toilet above mobile phones, beds, shoes, and the combustion engine. Who can blame them? In a well-sewered world, we are protected from many of the infectious diseases that contributed to making our unplumbed ancestors’ lives nasty, brutish, and short. Cholera, hepatitis, polio, and the diarrhoeal diseases that continue to kill more people globally than acts of violence all implicate faecal transmission. It seems only rational to dispatch our excrement as quickly as possible in a cleansing torrent of water.

Read more: Nick Haslam reviews ‘Spectacles of Waste’ by Warwick Anderson

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Ben Brooker reviews ‘Three Wild Dogs and the Truth’ by Markus Zusak
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Contents Category: Memoir
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Article Title: Reuben and Archer
Article Subtitle: A shaggy-dog story
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Dogs have long been a feature of Markus Zusak’s fiction. His pre-fame trilogy of Young Adult novels, centring on brothers Cameron and Ruben Wolfe and their family, deployed the animal as a metaphor for tenaciousness. In the trilogy’s final book, When Dogs Cry (2001), Cameron and Ruben all but adopt Miffy, a Pomeranian whose scrappiness matches that of the brothers and whose death provides the book’s emotional fulcrum. There is a caffeinated hound in The Messenger (2002) and a clothesline-obsessed border collie in Bridge of Clay (2018). Even when, as in Zusak’s best-known work, The Book Thief (2006), dogs are not present, something about the way the author sees them – lovably rambunctious, all rough edges, chaos and, yes, doggedness – permeates the spirit of his two-legged characters.

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Alt Tag (Featured Image): Ben Brooker reviews ‘Three Wild Dogs and the Truth’ by Markus Zusak
Book 1 Title: Three Wild Dogs and the Truth
Book Author: Markus Zusak
Book 1 Biblio: Picador, $36.99 hb, 223 pp
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Book 1 Readings Link: https://www.readings.com.au/product/9781761561825/three-wild-dogs-and-the-truth--markus-zusak--2024--9781761561825#rac:jokjjzr6ly9m
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Dogs have long been a feature of Markus Zusak’s fiction. His pre-fame trilogy of Young Adult novels, centring on brothers Cameron and Ruben Wolfe and their family, deployed the animal as a metaphor for tenaciousness. In the trilogy’s final book, When Dogs Cry (2001), Cameron and Ruben all but adopt Miffy, a Pomeranian whose scrappiness matches that of the brothers and whose death provides the book’s emotional fulcrum. There is a caffeinated hound in The Messenger (2002) and a clothesline-obsessed border collie in Bridge of Clay (2018). Even when, as in Zusak’s best-known work, The Book Thief (2006), dogs are not present, something about the way the author sees them – lovably rambunctious, all rough edges, chaos and, yes, doggedness – permeates the spirit of his two-legged characters.

Read more: Ben Brooker reviews ‘Three Wild Dogs and the Truth’ by Markus Zusak

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Kerryn Goldsworthy reviews ‘The Middling Sort: A South Australian family history’ by Marian Quartly
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Article Title: Chronicle and saga
Article Subtitle: The current of social change in South Australia
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Marian Quartly’s ancestors were of ‘the middling sort’, a term used by historian Margaret Hunt to describe ‘people who were neither wage labourers nor gentry’: artisans, shopkeepers, skilled tradesmen, yeoman farmers, and the like. This class of people, says Quartly, ‘shared values and expectations that were shaped by the dangers of the commercial world; they were temperate, prudent, proud of their independence’.

Alt Tag (Related Article Image): Kerryn Goldsworthy reviews ‘The Middling Sort: A South Australian family history’ by Marian Quartly
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Alt Tag (Featured Image): Kerryn Goldsworthy reviews ‘The Middling Sort: A South Australian family history’ by Marian Quartly
Book 1 Title: The Middling Sort
Book 1 Subtitle: A South Australian family history
Book Author: Marian Quartly
Book 1 Biblio: Marian Quartly, $45 hb, 188 pp
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Marian Quartly’s ancestors were of ‘the middling sort’, a term used by historian Margaret Hunt to describe ‘people who were neither wage labourers nor gentry’: artisans, shopkeepers, skilled tradesmen, yeoman farmers, and the like. This class of people, says Quartly, ‘shared values and expectations that were shaped by the dangers of the commercial world; they were temperate, prudent, proud of their independence’.

The many branches of Quartly’s family fitted this loose classification. Almost all hailed from England and ended up in South Australia, mainly in the 1850s. It is a surprisingly homogenous set of origins for a non-Indigenous Australian, so the book does not reflect the ethnic and cultural diversity of the colony from its earliest days – and there is no reason why it should, as it does not purport to be a history of South Australia as such.

Read more: Kerryn Goldsworthy reviews ‘The Middling Sort: A South Australian family history’ by Marian Quartly

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