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July–August 2011, no. 333

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Contents Category: Advances

 

Majestic gongs

ABR in the past has been critical of the paucity of writers receiving national honours and the over-representation of politicians, bureaucrats, and plutocrats, so it was pleasing to find several distinguished writers among those honoured on the Queen’s Birthday. Christopher Wallace-Crabbe, a stalwart friend of ABR, received an AM. (We have a poem of his in this issue.) Other writers honoured in this round were Professor Graeme Davison (AO), Professor George Williams (AO), and prolific biographer Peter FitzSimons (AM).

 

Antarctic splendour

Fresh from winning this year’s National Biography Award for his biography of Walter Burley Griffin and Marion Mahony Griffin (Grand Obsessions, Lantern), Alasdair McGregor has just published an anthology of Antarctic writings. Antarctica: That Sweep of Savage Splendour (also from Penguin, this time under the Viking imprint). McGregor – a former architect – is a man of many parts: two of his paintings are reproduced in the book. James Bradley, editor of The Penguin Book of the Ocean (2010), will review Antarctica in the next issue.

 

Peter Porter Poetry Prize

For the eighth year in a row, we are seeking entries in our Poetry Prize, now named after Peter Porter (1929–2010). The first prize is worth $4000, and the other shortlisted poets will each receive $250. The judges this year are Judith Beveridge and David McCooey. Entries close on 21 November. Full details can be found here.

 

Wisteria days

Truth be told, reviewers rarely hear from their subjects. The response to most reviews, whether critical or laudatory, is usually muted. But not in London, apparently. Last month, biographer and art historian Frances Spalding reviewed Alexandra Harris’s new book for us. In the review she wrote, ‘Romantic Moderns,like this year’s wisteria in England, is catching the attention of many.’ Returning home one evening, Professor Spalding found a small wisteria on her doorstep, a gift from the author, who had enjoyed the analogy (and the review). She told Advances: ‘I must be careful in the future not to compare her next book with a white elephant.’

 

Island capers

Island magazine’s new editor, Sarah Kanowski, launched the magazine’s winter issue in style at the Mona Wine Bar, on 30 June. The new issue includes reviews of the museum, the art within, and the accompanying publication, Monanisms, along with several poems and short stories – one of which was penned by Mona’s onlie begetter, David Walsh. Daniel Thomas discussed Mona at length in our June issue.

 

Critic of the year

Geordie Williamson was a fitting recipient of the 2011 Pascall Prize, an annual award for a critic whose work has significantly contributed to the public appreciation, enjoyment, and understanding of the arts. Geordie, who received $15,000, has been chief literary critic of The Australian since 2008. His connection with ABR goes back even further than that. In his acceptance speech, Geordie noted that we commissioned his first review, back in November 2001. ABR congratulates this graceful and hugely well-read critic.

 

Six cheers for Federation

Federation has much to answer for – not least those anachronistic vice-regal palaces and posts – but it has given New South much to play with in its series of concise studies of the capital cities. First up came Peter Timms’s Hobart, Matthew Condon’s Brisbane, and Delia Falconer’s Sydney, which has just been shortlisted for the Prime Minister’s Non-Fiction Award (Delia is our subject on Open Page this month). Next in line is the Melbourne volume (August), from Sophie Cunningham. Later this year, New South will publish Kerryn Goldsworthy’s book on Adelaide, to be followed in 2012 by Wendy Were’s Perth and Paul Daley’s Canberra, in time for the centenary of the ‘feral capital’ (Philip Hodgins) in 2013. Mr Daley is clearly busy; later this year MUP will publish his book on that other great destination, Collingwood.

 

Australian Poetry Library

They all turned out on 25 May when Professor Marie Bashir, governor of New South Wales, launched the Australian Poetry Library website – and no wonder! This is a remarkable resource for Australian poets, readers, students, and educators. The website contains tens of thousands of poems by 217 of Australia’s leading poets, along with a range of critical, biographical, and audiovisual material. The site, more than three years in the making, was a joint project between the University of Sydney, CAL’s Cultural Fund, and the Australian Research Council. Brian Johns, chair of CAL’s Cultural Fund, remarked: ‘This is an imaginative way of supporting our poets, and linking their work to the educational sector to the benefit of all.’

 

 

Philanthropy II

In June we reported on Christopher Menz’s departure from ABR. Amy Baillieu has now succeeded him as Philanthropy Manager. Amy, who recently completed her MA in Publishing and Communications at the University of Melbourne, has been an editor at ABR since 2009. If you wish to make a donation, please email Amy: This email address is being protected from spambots. You need JavaScript enabled to view it..

 

 

CONTENTS: JULY–AUGUST 2011

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Contents Category: Letters

 

Paradoxical neglect

Dear Editor,

Patrick McCaughey’s article ‘NativeGrounds and Foreign Fields: The Paradoxical Neglect of Australian Art Abroad’ (June 2011) caught my attention because of its title, then its content. The latter part of the title is slightly old-fashioned. ‘Abroad’, to me, seems to have a fairly British flavour – those places outside those little islands, across the channel. Even ‘overseas’ is more appropriate for ocean-flanked Australia, but that too seems a little 1980s-jet-travel-era rather than the instant meeting of e-contacts today. Perhaps ‘international’ is better, but that word ‘national’ gets in the way.

‘Abroad’ does have the merit of the other meaning: of being ‘out and about’ – being there and being seen.  So what does Patrick McCaughey mean by ‘abroad’? As founding director of the main program to send Australian art ‘abroad’ – the Asialink Touring Exhibition Program – I am interested in his analysis. Asialink’s program is the largest international program Australia supports in terms of the number of exhibitions (more than seventy to date), artists, venues, media coverage, and, crucially, audiences. Its history has been published (and reviewed in ABR, November 2010) in my book entitled Every 23 Days: 20 Years Touring Asia – this particular title referring to the average time between Asialink exhibition openings throughout this period.

I was disappointed by the lack of any mention of our program, but also of Asia at all. If Patrick McCaughey wants to talk about the Australian art exhibited in north-east America and north-west Europe, including the United Kingdom, fine, because that is what he does; but he shouldn’t make the assumption that that part of the world is all that is relevant. Why do this in Australia today? I’d hate to think it was because the audience in the United States was seen as more important than that in Japan.

The total attendance for Asialink’s latest show, Face to Face, in Seoul is nearly 50,000 people. Yes, 50,000 Koreans seeing a show of Australian contemporary art is great. Korean artists such as Nam June Paik and Lee U-fan (leader of Mono-ha) led their international status decades ago, but they are ably followed today by mid-career artists such as Choi Jeong Hwa, Kimsooja, and Lee Bul, all of whom have been seen in Australia. Mami Kataoka, senior curator at the Mori Art Museum in Tokyo, in Melbourne recently to speak at the Melbourne Town Hall, told of the upcoming Lee Bul retrospective at Mori. If the latter is as successful as that of Tracey Moffatt and Patricia Piccinini, shown recently in Tokyo, everyone will be pleased. Asia is an exciting place for Australian art – perhaps more so today than the Atlantic borders.

Besides this angle in Patrick McCaughey’s article, there is a wider issue that does deserve serious discussion: how to measure our profile internationally. We are good at self-criticism, but I think, by and large, we do well internationally, considering some special issues we have to face. The first is our ‘indistinct’ cultural profile (apart from Aboriginal Australia), which is not easy to categorise for time-poor foreigners (we aren’t ‘other’; nor are we ‘inner’); we are far from other places, including Tokyo, Beijing, and even Jakarta; our cities are spread widely; and we don’t spend enough to combat these factors. Asialink’s program is funded by $200,000 to $400,000 annually from the federal government, and only works because of partnerships in Australia and Asia. The Japan Foundation spends a huge amount more. For anyone aware of the Alliance or British Council or Goethe and their offices in Asia, our budget is laughable. Bearing all the above in mind (and our small population), we don’t do so badly. But it is true that we could do better. Oh for an Australian international council with a focused strategy for engagement and real funds to do it. Then we could really do something wonderful.

Alison Carroll, Director, Asialink Arts 1990–2010

 

 

CONTENTS: JULY–AUGUST 2011

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Hugh White reviews There Goes the Neighbourhood: Australia and the Rise of Asia by Michael Wesley
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Contents Category: Asian Studies
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Sometime around 1820, forty years after its Industrial Revolution began, Britain overtook China to become the world’s richest country. Sometime between now and 2020, forty years after China’s own Industrial Revolution was launched by Deng Xiaoping’s economic reforms, China is set to overtake the United States and regain its place at the top of the world’s economy.

Book 1 Title: There Goes the Neighbourhood
Book 1 Subtitle: Australia and the Rise of Asia
Book Author: Michael Wesley
Book 1 Biblio: New South, $32.95 pb, 202 pp
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Sometime around 1820, forty years after its Industrial Revolution began, Britain overtook China to become the world’s richest country. Sometime between now and 2020, forty years after China’s own Industrial Revolution was launched by Deng Xiaoping’s economic reforms, China is set to overtake the United States and regain its place at the top of the world’s economy.

Read more: Hugh White reviews 'There Goes the Neighbourhood: Australia and the Rise of Asia' by Michael Wesley

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Rosaleen Love reviews Feeling the Heat by Jo Chandler
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In Feeling the Heat, journalist and science writer Jo Chandler voyages to Antarctica (mostly), where she meets and talks with scientists about the meaning of their work. She reminds me of the eighteenth-century philosophical travellers, the first anthropologists who travelled to strange lands (Australia included) to observe the language and customs of savage peoples, and to learn from them. From ice field and coral reef, Chandler reports on the latest in climate science, as if meeting the inhabitants of a distant country where they do things differently.

Book 1 Title: Feeling the Heat
Book Author: Jo Chandler
Book 1 Biblio: Melbourne University Press, $39.99 pb, 314 pp
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In Feeling the Heat, journalist and science writer Jo Chandler voyages to Antarctica (mostly), where she meets and talks with scientists about the meaning of their work. She reminds me of the eighteenth-century philosophical travellers, the first anthropologists who travelled to strange lands (Australia included) to observe the language and customs of savage peoples, and to learn from them. From ice field and coral reef, Chandler reports on the latest in climate science, as if meeting the inhabitants of a distant country where they do things differently.

Read more: Rosaleen Love reviews 'Feeling the Heat' by Jo Chandler

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Paul Brunton reviews Book Life: The Life and Times of David Scott Mitchell by Eileen Chanin
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This is the first major biography of Australia’s greatest book collector, David Scott Mitchell, whose peerless Australian and Pacific collection established the Mitchell Library. Mitchell was born in 1836, in Sydney. He rarely left the city and never ventured beyond New South Wales. Living on inherited wealth, he devoted his life to collecting 40,000 printed works, as well as manuscripts, maps, and pictures. On his death in 1907, Mitchell bequeathed his collection to the Public (now State) Library of New South Wales with a £70,000 endowment to fund additions. It was arguably Australia’s greatest cultural bequest. Mitchell himself has always been an enigma. Although he collected the documentary history of our nation, he preserved very little to illuminate his own life, beliefs, and motivation.

Book 1 Title: Book Life
Book 1 Subtitle: The Life and Times of David Scott Mitchell
Book Author: Eileen Chanin
Book 1 Biblio: Australian Scholarly Publishing, $59.95 hb, 393 pp
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This is the first major biography of Australia’s greatest book collector, David Scott Mitchell, whose peerless Australian and Pacific collection established the Mitchell Library. Mitchell was born in 1836, in Sydney. He rarely left the city and never ventured beyond New South Wales. Living on inherited wealth, he devoted his life to collecting 40,000 printed works, as well as manuscripts, maps, and pictures. On his death in 1907, Mitchell bequeathed his collection to the Public (now State) Library of New South Wales with a £70,000 endowment to fund additions. It was arguably Australia’s greatest cultural bequest. Mitchell himself has always been an enigma. Although he collected the documentary history of our nation, he preserved very little to illuminate his own life, beliefs, and motivation.

Read more: Paul Brunton reviews 'Book Life: The Life and Times of David Scott Mitchell' by Eileen Chanin

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Sue Ebury reviews Final Proof: Memoirs of a publisher by Peter Ryan
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‘Thank God I have done with him!’ – the words uttered by Dr Johnson’s publisher when he received the final proofs of the dictionary from its author – might well have been Peter Ryan’s own in 1988 when Manning Clark confessed that he had changed his mind about the character and career of Robert Menzies. No longer did Clark consider him an ‘imperialistic booby’. Melbourne University Press was about to publish the final volume of Clark’s History of Australia, and the book was printing as the author confessed that he no longer believed his own, uncomplimentary text. This, for Clark’s publisher, Peter Ryan, was ‘the last straw’ in their tumultuous publishing relationship of twenty-six years. He boycotted the launch, and five years later he let fly in the pages of Quadrant with a critical attack on the press’s most profitable author, his methodology, and his work.

Book 1 Title: Final Proof
Book 1 Subtitle: Memoirs of a publisher
Book Author: Peter Ryan
Book 1 Biblio: Quadrant Books, $44.95 hb, 210 pp
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‘Thank God I have done with him!’ – the words uttered by Dr Johnson’s publisher when he received the final proofs of the dictionary from its author – might well have been Peter Ryan’s own in 1988 when Manning Clark confessed that he had changed his mind about the character and career of Robert Menzies. No longer did Clark consider him an ‘imperialistic booby’. Melbourne University Press was about to publish the final volume of Clark’s History of Australia, and the book was printing as the author confessed that he no longer believed his own, uncomplimentary text. This, for Clark’s publisher, Peter Ryan, was ‘the last straw’ in their tumultuous publishing relationship of twenty-six years. He boycotted the launch, and five years later he let fly in the pages of Quadrant with a critical attack on the press’s most profitable author, his methodology, and his work.

Read more: Sue Ebury reviews 'Final Proof: Memoirs of a publisher' by Peter Ryan

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Contents Category: Features

I am a doctor. Once I was a doctor of individuals, now I am a ‘doctor of populations’. Population health is about actions to improve the health of communities, nations, and the world. Challenges are many: the mobility and density of populations, contemporary desires and pressures, the safety of food in complex systems, poverty, the immense power of big businesses such as tobacco companies. All this, yet it was the rise of infectious disease worldwide that caught my curiosity, a J curve swooping up, exponential. My days became consumed, working alongside others to detect and respond to emerging infectious disease threats. Old diseases thought banished returned, shaking off the dust and spinning their DNA. Something was amiss in our carefully designed strategies. I came to suspect a deficiency, a mistake, maybe a corrupting thought or belief in our basic assumptions about the interaction of microbes and the environment. I wanted to find out what it might be.

It all began with Matilda. She took my breath away in her audacious non-conformity. A scrawny Aboriginal, maybe thirty-five years old, her skin black as night and her eyes sparkling with humour and a snippy wit that could cut me down. She wore a thin floral dress with vibrant red roses and white dance shoes with near stiletto heels. The shoes were too big; her dusty, bony feet disappeared into the shadows. She clip-clopped up the stairs and across the cracked linoleum of the waiting room. I told her she looked like Daisy Duck. She laughed and slapped her white vinyl handbag, blotched pink with the dust of the pindan desert, against my arm.

I was a doctor of individuals in the Kimberley, the rugged north-west of Western Australia. Halls Creek, to be exact. It is hot in the Kimberley. It only has two seasons, the wet and the dry. Aboriginal people say it has six.

Matilda never came to see me by appointment. She came wanting a dressing for an abrasion, or suddenly decided her heart should be checked, or she was worried about a child who needed a home visit because its mother was drunk or playing cards. Among the metallic lines of the emergency room she was out of place, always distracted, touching things like the defibrillation machine, as if it might hold some wisdom. Frequently it was Matilda who was drunk and in need of rehydration or an examination to establish whether any of her limbs were broken.

It was late in the year. The heat and humidity were intolerable, and the rains had not come. The police, stern and straight-faced, brought in Matilda. As usual, she was lively and voluble.

‘Hey doc why you wear ’em tight pants. You wanna be man like. Ain’t no good being a man like. Youse a, eh, a woman, doc. Youse woman. You should be strong there. Youse a woman.’

I felt her limbs looking for fractures. The skin around one eye was swelling. I wondered what other bruises were hidden by her dark skin.

‘Doc, you like my dress? I like ’em flowers. Them rains, they real late doc. You know the land y’know it goes green cos it knows the rains are comin’. Gets ready. Dem bushes not ready. All animals they gotta get ready.’

Matilda’s arm was broken. Forearm. A typical assault fracture. I looked at the police. Their arms were folded. Other mayhem was coming through the door.

I didn’t bother to order an X-ray. The machine was being repaired, and Matilda would never travel to the next town, or down the street, even if there were such services here in the ‘outback’. I pulled her arm straight and encased it in a plaster of Paris. She had to go. She was worried that the boab trees had not flowered. Them robber birds hadn’t come either. She had to take care of this.

‘We gonna dance, ceremony for the rain to come, get everythin’ right again.’ She wandered out in her rose dress, her stained accessories, and a shining white plaster of Paris arm.

The emergency room emptied as night approached. Dirt scuffed in eddies against the wall, and the bins overflowed with bloodied bandages and torn clothes. The orderly, a part Aboriginal who never looked up, drew a mop through the metal rollers of a bucket and splashed water across the floor.

I walked home. Crows picked over the chicken bones strewn across the road. On the kerb was a flattened Kentucky Fried cardboard tub. Someone must have brought that in on today’s plane. It was always the same. There was always a big tub of Kentucky Fried, all the way from Port Hedland – Perth, even.

On the corner a boab tree stood like a monk in a stained cassock with multiple skinny arms high in the air, exasperated at some transgression. It was very fat, several feet in diameter, and had an indent like a little cave you could curl up in. It was hundreds, maybe thousands, of years old. Fuck you and Yorky 1978 were carved in deep cuts on its trunk. The limbs were bare, not the slightest bud of green. Above, billowing cumulus clouds threatened to engulf the evening sky. They moved like an ocean tide over the first stars of night, covering the streams of stringy cirrus clouds of all shades of purple. The moon rose, luminous and wobbly in the hazy fading of the heated day.

Next morning the clouds were gone and the sun burned white. Matilda’s shoes clattered on the tiles of the emergency room.

‘Little fella, Cody, he has big cough, like poor fella. I rock ’im like this, and I give ’im water. You gotta take me get ’em leaf from dat tree. Lawuny tree.’

‘Bring him here so we can give him medicine.’

Matilda looked to the floor. The cast on her arm was already dirty and frayed.

‘Him need ’em lawuny.’

‘I can get someone to take you and bring him back for check here.’

She shook her head and stood, her black bony fingers clasped around the grubby vinyl bag. If Matilda was worried, I was worried. Should I ring the social worker? The social worker had long ago decided Matilda was a lost cause, but I could go. I had help that week, an efficient square-jawed, rosy-cheeked German doctor who loved being among the Australischer Ureinwohner. They were so old and spindly, he said.

‘What about I come with you and see this boy?’

Matilda smiled. I was suddenly suspicious. She wanted transport. That was it. She would probably ask me to wait near the grocery store and she’d take a detour on foot to the liquor store. I could see it, the white plastic bag with a cask of moselle hidden by a big bottle of Coca-Cola and a loaf of Wonder White bread.

In the Toyota, she sat with her back straight and gazed at the landscape, sometimes swivelling to keep a tree, a cloud, or something in sight. I didn’t know where she lived. Her address was always different. The house we came to was like many in the town, high on stilts to take advantage of any flutter of breeze. It was scarred with holes through its fibro walls and every window was broken. Mangy dogs lay in the shade snapping at flies or pawing at the hot layer of dirt to make a sleeping place. A teenage girl stood in the shade of a straggly gumtree, holding a child wrapped in what looked like a woman’s skirt.

The skinny child was two years old. He whimpered but had no energy to cry. He was breathing quickly. I heard the soft crackles of his sticky lungs as he drew breath, a whistle of narrowed airways as he breathed out.

I argued with Matilda.

‘No hospital,’ she said, ‘first ’em leaf.’

‘Is it far to this tree?’ I asked in desperation.

She shook her head.

‘Okay, I will drive you to the tree, then straight back to the hospital. I want to start him on this medicine right now, though.’

She shrugged in reference to the medicine. I pulled out a syringe, drew some liquid antibiotic, and eased it into the child’s mouth. When he coughed, much of it dribbled out. I repeated the manoeuvre; this time with another medicine that I hoped would relax the airways and make it easier for him to breathe. Matilda gathered him to her. The syrup dribbled down his neck and the flies hovered looking for a moment to sup on the wonders of modern medicine. As we drove she said nothing, a flick of her finger told me which way to go.

We turned off the bitumen on to the dirt, then off the dirt onto what looked like an old cart track. We came to a thin, gnarly tree with brown bark and small greenish-blue leaves. It was old and, yes, spindly. Matilda set about making a fire. With a stick she began to dig a hollow at the base of the tree. I held the child, listening to the crackle in and the wheeze out. I thought of the Hippocratic oath and figured I should make a run, leave Matilda and take the child back to hospital. Cool him down, give him some intravenous antibiotics and fluids, maybe insert a tube through his nose down into his stomach for feeding.

Matilda gave me a quick look, as though she read my thoughts. She crouched at the fire holding a leaf from the lawuny tree above the flames. I saw a knot with a bulge in the hemline of her dress. The car keys. I was angry. She came close and put the smouldering leaf under the child’s nose. Her head bowed and was still. I saw she was the Madonna; there was no one else but the infant child in her eyes. My anger had nowhere to go and I felt helpless.

She scattered the fire and sprinkled sand over the coals and burning twigs. On top she spread leaves from the lawuny tree. The sun burned through the thin foliage, and the child was hot. His eyes were half open. I brushed the flies away. I tried to ease water into the corner of his mouth using a syringe. Matilda smashed a termite mound with a large rock. The clay-like soil crumbled and the white ants with their tiny black eyes and feelers hastened from the glare and dryness of the sun. She gathered the warmed leaves from the fire and filled the hollow, then took the child from my arms and nestled him naked in the leaves. She mixed the dirt from the termite mound with water into a paste and covered the child with it, then stirred the fire and put a branch from the tree with fresh leaves on the flames. The smoke drifted in biting swirls toward us. It had a peculiar aromatic peppery smell.

‘Matilda!’ I tried to be harsh, I tried to order her. She seemed not to notice and motioned for me to sit with her by the mud-covered child.

I watched his breathing, the dribbling at the corner of his mouth. The mud dried and cracked. His hand curled in a tremor around a bunch of leaves and softened again. His breathing eased. Matilda sang in a low muttering way. Up high, an eagle with widespread wings banked in a tight circle in an endless sky. I closed my eyes and made myself think of nothing. I fell into Matilda’s song and the sky swallowed us completely.

The world was silent. The sun passed overhead, and soon its rays reached under the tree in a glare of late afternoon. The child began to talk and laugh in baby-babble. Matilda’s eyes danced and she played with him, dropping leaves on his chest. He grabbed a fistful, threw them and watched them fall, giggling as they brushed against his face. The crackle and the wheeze were gone.

‘Why didn’t you just let me take him to hospital?’

The child sat on her lap banging a small branch against the dashboard of the car.

‘Too much white fella stuff, the rain not come.’

‘So, is the rain coming?’

‘Everything messed up.’

‘Messed up?’

‘Yeah, them ants ain’t making their lines in the ground, them birds mak’em home in dem other bird nest they aint coming, ’em plums ain’t coming right.’

At the house, I handed Matilda a bottle of antibiotic syrup. Two times a day, a spoonful or use this, I said, indicating the syringe.

‘Promise me, Matilda, you will make sure he gets the medicine.’

She took it, but without interest. Hand on hip, she was looking at the sky.

‘Him alright.’

In the days that followed, I was busy. The clouds built in a great wave, but refused to rain. It was early morning, with long golden shadows, when the police came to the hospital. They asked me if I would kindly provide a death certificate for the body they had in the van.

Matilda was there, her skinny legs and arms hanging over the stretcher, the Daisy Duck shoes precarious on her feet. Her handbag was on the floor. I felt my chest tighten and turned to hide my face from the police. I picked up her bag and looked inside. It was empty except for the little pouch of silica gel put there by the manufacturers to keep the inside dry.

‘How did she die?’ I said and tucked the bag under her arm.

‘Found her on a track – probably been at some desert party, she must of been making her way back in. Probably the boys finished with her. Musta been drinking heavy. Dehydrated I reckon. It’s been so bloody hot. How did she die? Well, that’s up to you, doc.’

I didn’t order an autopsy. I didn’t know how you could factor in cultural indifference, racism, ignorance, a misfit system. I went home and refused to cry.

The week was wicked. It was as if a steaming hot iron was held just above the town. The police brought many in, full-blood, coloured, or ruffian whites, all trying to understand different things by wrapping themselves in dirt and becoming as inebriated as possible.

As the day ended, black clouds rolled in from the west, building on top of each other. Lightning stabbed hard, sparking at the dry country; orange flames flickered in the black heaviness of the night. A flash of sheet lightning silhouetted the boab tree. Leaves? I took a step closer. Lightning struck again. The leaves, above the fuck you were tiny, fresh, lime-green. A single flower was open, four petals, simple in design and clean white, facing upward to the heavens. I wanted to tell Matilda it was alright. The boab was ready. All I could do was shout at the sky as if she was up there. I yelled as the thunder rumbled.

Then it rained, so hard that the streets ran in rivers of red mud.

I walked with my head back and tasting the sweetness of the sky. I didn’t understand why it still hurt that Matilda had died. I had seen many die and, really, she had brought an early death on herself. She would probably still be here if she hadn’t been a drinker. As I let the rain soak my clothes, I thought about that. I thought that to be a really useful doctor I needed to go further ‘upstream’ to tackle things like alcoholism in a community, and other things such as nutrition for children; I needed to help these people.

I didn’t get it then. I don’t know if I do now. I didn’t understand why it was so darn sad that I didn’t see or care that the ants weren’t making the right tracks. I never learned how to see that.

I did the work with the many others that it takes to turn the health of a population around. Laws to reduce smoking, national programs to make sure people be immunised, have pap smears, have their prostate checked, reduce trans-fatty acids and salt. Sit still, read this. All of you. Nothing though seemed to stop the decline of the health of the Aboriginal people. It seemed that, like many species of birds, frogs, and insects, they were headed toward extinction. The Aboriginal issue was a favourite topic on talkback radio. I cringed when John Howard, our prime minister, passively looked on while Pauline Hanson played on Australian bigotry: ‘Tell me how Aboriginals are disadvantaged when they can obtain three and five per cent housing loans denied to non-Aboriginals.’

If only they would take advantage of such opportunities. They would progress as a people. The Economist magazine reiterates that progress is essential. Developed countries must have vibrant economies. By the trickledown effect, the standard of living in developing countries or disadvantaged populations will improve. The easiest way to define progress, said an economist friend, is an increase in Gross Domestic Product. Quality of life is assumed in this. The more money, the more productivity, the better.

Bruce Chatwin, in his book The Songlines, speaks of the ‘linguistic genius’ and complexity of Aboriginal social and cultural life. There was a clear objective to what they did: ‘the whites were forever changing the world to fit their doubtful vision of the future. The Aborigines put all their mental energies into keeping the world the way it was.’

 

Ant trackTunnel track of Ngajapila ants

 

In Kalgoorlie, beyond the cyanide heaps and the mine scaffolding, is an Aboriginal community whose inhabitants suffer regularly from Methicillin Resistant Stapholcoccus Aureus (MRSA). Resistant to antibiotics, the bacterium causes abscesses, skin infections, and a frightening form of pneumonia. Gene typing shows us that it is emerging in many parts of Australia and throughout the world. The pressures that are causing this micro-organism to evolve in different places are the same; unnecessary use of antibiotics for people and in agriculture, crowded conditions, poverty, and lack of water.

The medical world was not ready for the sudden rise in infectious diseases. Doctors and scientists, in the middle of the twentieth century, declared that germs had been conquered. Little was taught in medical school of contagious diseases and epidemics. Dr Petersdorf, president of the American Colleges of Medicine, wrote in 1978: ‘I cannot conceive of a need for more infectious disease experts unless they spend their time culturing each other.’

Perhaps the medical fraternity didn’t consider Africa as part of the real world, for it was there that the microbes were stirring. In 1969 an American nurse died of a new disease, Lassa fever, which she had contracted in Nigeria. The incident heralded the rise of the haemorrhagic viruses. Ebola is the most notorious, a deadly disease that struck fear in people’s hearts and caused hazmat-suited teams to meet aeroplanes from Africa should anyone on board have a blood nose or a cut finger.

Human Immunodeficiency Virus (HIV) was first identified in 1981, when it reached the developed world. It had probably been around for the better part of a century, in clusters in Africa where a syndrome known as the ‘slimming disease’ had become frequent. By the 1990s no one could place the blame on Africa as new diseases were emerging in all social strata. West Nile Virus took America by storm in 1999, happily carried by the Asian ‘tiger’ mosquito which found the United States very much to its liking. Nipah virus emerged in 1999, killing 105 farmers in Malaysia and necessitating the killing of more than one million pigs.

In Australia, a new ‘Nipah’-like virus was identified in 1994 and named after a Brisbane suburb, Hendra. There have been thirteen outbreaks of Hendra, which have killed numerous horses, three veterinarians, and one horse owner. Like Ebola, Hendra is termed a level four virus, handled only in special laboratories in certain parts of the world. The link in the rise of the Nipah-like viruses in the Asia-Pacific region is bats. Bats don’t succumb to the viruses, but are good ‘intermediate’ hosts. They carry viruses, both the old and many of the new. The normal habitat of bats is being destroyed. Their numbers are decreasing, but they are forced to live in crowded and, for bats, poverty conditions – leafy outer suburbs in northern Australia. It’s a condition favourable to the multiplication of viruses. The microbes are screaming at us.

Epidemiology is the study of disease patterns. It is possible to conceptualise the recent world in terms of changing infectious disease patterns. Epidemiological transitions are points in history in which there have been major changes in the pattern of emergence and spread of infectious diseases.

There have been three transitions marked by major changes in agriculture and our ways of living. The first transition point was ten thousand years ago, when many hunter gatherers became subsistence farmers. The ‘white plague’ that is tuberculosis, and the ‘black plague’, bubonic plague carried by fleas on rats, emerged and swept across the world, but slowed precipitously just over a century ago.

The second transition point occurred with the increase in the standard of living and attention to public health after the Industrial Revolution. There was a decline in infectious disease. The usual killers virtually disappeared from developed societies: smallpox was declared eradicated; malaria was reduced to a thin line in the tropics. It was, by history’s standards, a brief lull.

The third transition, occurring now, is marked by a rise in both infectious disease and chronic ‘lifestyle’ diseases. It is argued that the third transition point is being driven by increasing inequality between societies and rapid changes in ecological and social relationships.

Precarious times. Oil is running out. Water has become a scarce commodity. Ice shelves are melting. The oceans are turning to acid. Scientists say that with one change in the amino acid sequence of the avian influenza virus this disease could cause the death of millions of humans. David Suzuki, in The Sacred Balance, writes that if people disappeared from the Earth there would be little impact on nature; in fact, it would allow the Earth to heal. On the other hand, if you removed ants, eco-systems would topple like dominoes.

It is sobering to think that the Earth doesn’t need us. ‘Gaia’ is a concept that James Lovelock introduced in 1979. Earth is a single being, Gaia. All components of the world, be they air, water, rock, ants, or humans, affect each other in a complex web of life. Common sense. Indeed, as scientists trace the causes of climate change, it is increasingly difficult to oppose the Gaia theory. The role of humans would seem to be natural, given our big brains, as ‘guardians of the earth’. Yet it seems we have mainly been destructive to lesser lives. Have we misused our intellectual grace? God made us in his likeness. Is He really this heartless?

Scientists are busy creating solutions: bioengineering, monoculture, acres of ethanol-producing grain, carbon taxes, carbon eaters, and acid neutralisers. These efforts seem merely an attempt to ensure we can continue to change the world to fit our ‘doubtful vision of the future’. Fresh water from salt water. Water from wine?

Aborigines in 2006 were three times more likely to die before the age of sixty-five than other Australians. The then federal health minister, TonyAbbott, a devout Catholic, declared, ‘The basic problem of Aboriginal disadvantage was not a lack of spending but the directionless culture in which Aboriginal people lived.’ He called for ‘paternalistic intervention’. In the following year, in response to a report of child abuse in Aboriginal communities, Prime Minister Howard sent in the military.

Alexis Wright, author of Carpentaria, which won the 2007 Miles Franklin Award, writes in an essay on the Aboriginal poet Oodgeroo Noonuccal, of  ‘a war of strange ugliness’ waged against Aboriginal people, who are ‘put on trial by the media, found guilty of violence toward one another and our children and deemed incapable of moral thought’. Wright is convinced that the aim is to break down Aboriginal cultural attachment to the land. Oodgeroo Noonuccal’s incisive poetry was a weapon to cut through the whiteman’s intention to confuse as Aborigine is pitted against Aborigine, and as needs and rewards conflict with cultural practices.

But vain the honour and tributes paid,
For you strangled in rules the white men made ...
Namatjira, they boomed your art,
They called you genius, then broke your heart.
(from ‘Namatjira’)

Sickness goes hand in hand with the breakdown of culture. Ask the North American Indians, the Inuit, the Maori, the African pygmies, and many more.

My work is inadequate. It tinkers at the edges; doesn’t contribute to lasting well-being. At an airport I walk past a bookstand displaying a bright yellow book which I have seen often. The stark title, God Is Not Great: How Religion Poisons Everything, is arresting. Monotheistic religion dominates the planet. Fundamental to our destructive ways may be a misplaced belief that He will save us. Perhaps that is what is killing the Aborigines, too. We can’t see past God, a God in our likeness.

As a convent schoolgirl, I often won the yearly Religion prize. In my teenage years, I had a suspicion that religion was askew. I couldn’t deal with the glorified trauma of the Crusades. I turned my back on the Dictator of the Universe. Yet He remained close at my shoulder, influencing my thoughts, my judgement, my ability to understand. Was He the corrupting element?

Going back to the bookstand, I noticed that there were three recent atheistic texts, all advertised as New York Times bestsellers. I bought them all. Hitchens dips in and out of unreasoned rant in God Is Not Great. He produces example after example of horrific religious-driven havoc. His strongest message is that we have done it to ourselves. He reminds us at length that God did not create us – that we created God. Why, then, have we created God? Hitchens claims it is humankind’s arrested development in ‘the bawling and fearful infancy of our species’. He does, however, allude to another need when he mentions devotion ratcheted up ‘to screaming point so as to ward off the terrible emptiness’. Did we create religion because of this ‘terrible emptiness’?

Religion is an easy target for Hitchens’s sarcasm. I get a sense that the topic is merely a carriage for the display of his cleverness. He calls Saint Augustine ‘a self-centred fantasist and earth centred ignoramus’. A bit tough on a scholar who lived 1600 years ago. I skim the rest. Eastern religions get short shrift; Buddhism is described as ‘a faith that despises the mind and the free individual’. Gods and religions are the scapegoats for everything. Hitler did what he did because he wanted to be God. If there were not monotheistic belief in the world, Hitler wouldn’t have done what he did. I am unsettled. The association with cause and outcome is too loose. Hitchens’s famous phrase is ‘What is asserted without proof can be dismissed without proof’. If so, Hitchens, look in the mirror.

Sam Harris, in The End of Faith, rails against the absurdity of religion. Why do we believe in the Bible? It is so old, so uncertain, so unsubstantiated. There is no scientific evidence for God. Harris takes hardest aim at Islam. Islam, he says, is where Christianity was at the time of the Crusades. The religious adolescents of today have nuclear missiles, not swords. The world is in danger.

Although no monotheism is leftuntouched, Harris, in allowing himself some subjectivity, walks perilously close to racism. He acknowledges the suffering of the Jewish people, but suggests that the Jews, in their ‘insularity and professed superiority of religious culture’, might have brought ‘their troubles on themselves’. If you are tolerant of religion, Harris says, you are just as bad as a fundamentalist, allowing non-evidenced stories to carry on, regarded as truth, creating divisiveness and discrimination. Humankind has not been able to grow or to debate the questions around creation and existence. It is preoccupied by the fairy tales of childhood that influence the highest levels of government.

‘Yes, yes,’ I whisper, suppressing my discomfort at the remarks about Jews.

The third book advances a scientific alternative to God. In The God Delusion, Richard Dawkins proposes natural selection as the reason for everything. Like Hitchens and Harris, he slams the ‘Great Design’ theory that is central within monotheism. He claims that God could not possibly be the Great Designer, because he would have to be more complex than his creations.

Dawkins believes that genes are selfish. Genes program themselves for survival. Heredity, though, is unlikely to be straightforward genetic inheritance of the Mendelian kind. Clusters of genes or ‘replicable units’ may be involved in conferring socio-cultural lineages, which could include religion, enhancing the survivability of a group or race of people. Dawkins speaks of the possibility of a change in an inheritable unit allowing it to multiply faster than others to become an ‘efficient rapid replicator’,increasing its own chance for propagation. Dawkins calls these latter entities ‘mental viruses’. Mental viruses may carry the propensity to ‘blind faith’. The rise in fundamentalism, then, is biological, analogous to an emerging infectious disease.

Dawkins is Darwin’s twenty-first-century man. The difference is that Darwin believed in God. Dawkins does not. Brian Goodwin, biology professor and leading thinker on the complexity of evolution, decries Dawkins’s ‘biological reductionism’ and comments that his beliefs verge on Christian fundamentalism. Dawkins believes that humans are unique in that we can rise above the selfish genes through survival of the right clusters of ‘replicable units’. How do we do this? Dawkins does not say. Perhaps he is too afraid. I hope he is afraid.

 

Boab treeA boab tree in the Kimberley

 

I am in Canada walking a snow-dusted road alongside a brook flowing with clear water and pooling in sparkling azure eddies. Ahead tower majestic snowy mountains. I am overawed. I feel as though I am in an immense church.

Science is my training, but I still like holy places; Buddhist temples, Hindu shrines, Greek orthodox churches, pagan temples. There I experience oneness. I am quiet; silent, I let the mind go.

In medicine, you learn quickly that there are no hard laws. People are mercurial, mysterious, and often refuse to remain in the confines dictated by research. So much so that, at times, the Bell Curve seems an artefact. Random Controlled Trials (RCTs) ‘freeze’ the environment so only one variable is tested. Isolation, though, is not real life. Real life is messy. Does science reflect it?

I decide to read the arguments for God. David Berlinski, a mathematician and a scientist, wrote The Devil’s Delusion for ‘the great many men and women [who] have a dull, hurt, angry sense of being oppressed by the science’.Berlinski attacks specific arguments put forward by the three New York Times bestseller atheists. He criticises them for interpreting religious texts in a literal way. How can it be proved that, in the absence of religion, wars would not have happened? It can be equally argued that religion may have had a moderating effect on the great secular demons of the twentieth century. Hitler saw the control of science as a prize of war. The unbridled science of genetics provided a tool for the eugenics movement, both in the United States as well as Hitler’s régime. There is insufficient evidence in history, Berlinski claims, to indicate that science can give us a moral framework with which to live respectful and peaceful lives. An exclusionary belief in science does not support morality at all.

What is true when there is no agreement on what construes evidence? Many things considered improbable yesterday are considered likely today. Is not the concept of God as improbable as the concept of the universe? Yet we knowthe universe exists. In fact, we think now that there are many universes – all simultaneous, some contracting, some expanding, some chasing their tails, and some, time-wise, ending before they began. And we think that God, whatever being, plasmic force, or unique understanding that is, is improbable?

Genes, Berlinski states, are like computers: full of information, but they need a program. Who is the programmer, and, hell, why therefore are we not more mechanical? Why do we laugh and cry? What is the evolutionary advantage of grief? Alfred Wallace, Darwin’s counterpart, had significant reservations on this count.

Berlinski finishes with a comparative tale and a metaphor. In the Renaissance, scientists had to hide their philosophy behind a religious cloak. Today there exists a crumbling but majestic cathedral of science, where questioning is forbidden. There is an underground swell of sciencedemonstrating the inadequacy of Darwin’s theory of evolution, yet, even when peer-reviewed, this science is rejected, omitted from publication, and the authors subject to severe tongue lashings by people of the order of Hitchens and Dawkins. The more science discovers, the bigger the unknown becomes. ‘Proven’ theories are proving irreconcilable. All very embarrassing.

Snow crinkles under my boots. I feel lost. I had hoped atheism would provide a strategy to save us, to give us breathing space to be sensible. I crouch by the water and watch its cold blue diamond lights swirling downstream, as though somewhere high in the mountains the river caught the stars and brought them down to earth. The tips of my fingers touch the water and I feel its pull, drawing me into it. I think of Les Murray’s words, ‘God is the poetry caught in any religion.’ Our poets and muses have much to tell us; after all, they are free to interpret what they feel, unencumbered by the filters of experts or statistics. Neil Young’s angry refrain stirs my thoughts: ‘When the aimless blades of science slashed the pearly gates, it was then that I knew I had had enough.’

Walking toward me is a small woman with a scarf over her head. She pauses with a smile on her face that I have seen before. I search my mind. Yes, I remember. The Dalai Lama at the Perth Entertainment Centre, when he stood on the stage in front of 8000 people and said, ‘I don’t know anything.’We all rose as one and applauded him.

I was heartened by the woman’s smile.

‘Please. I would like your opinion. There is a man – his name is Hitchens, he said that Voltaire’s statement that if God didn’t exist it would be necessary to invent him was ludicrous. Do you agree?’

She adjusted the bread and fruit in her basket.

‘God is a common character in the stories we need in order to understand the unknowable.’

‘Isn’t God the unknowable?’

She took a step away, but turned back to face me. Her eyes were the same colour as the stream.

‘Of course.’

I went back to the bookshelves. The Case for God was written by a woman who had spent many years as a Catholic nun, Karen Armstrong. The book begins with a description of descending into the darkness of the deep underground caverns of Lascaux in the Dordogne. The paintings there date back to Palaeolithic times, which began 30,000 years before Christ was born. There are images of animals, unusual pairings and stances, and drawings ‘governed by rules that we can never hope to understand’. It is likely that the belief then was that there was no separation of animals from humans, they were interchangeable. They venerated death for the life that it gave and the rituals were reminders of respect and the power of the unknown. This ideological system remained in place for some 20,000 years, but fell into disuse about 10,000 years ago.

In a detailed journey through religious history, it becomes clear that, until at least the Renaissance, the religious stories were never considered real. They were a tool to reiterate the struggle, to guide: ‘put into practice, a myth could tell us something profoundly true about our humanity.’ Thecontemplation of myth and story allows a person to stand outside ‘the prism of ego and experience the sacred’.

In Socrates’s time and for many centuries after, the debate about God was one that was conducted on both sides (the believers of Gods, the non-believers) in order to understand the unknowable. The debate was whether the various religious concepts could lead to understanding the ‘unknowable’. God was not omnipotent. Isaac Newton thought that science would eventually prove God’s existence. Einstein believed in the eternal unknowable.

A knowledge of the existence of something we cannot penetrate, of the manifestations of the profoundest reason and the most radiant beauty – it is this knowledge and this emotion that constitute the truly religious attitude, in this sense, and in this alone, I am a deeply religious man.

It is difficult to disagree with Armstrong when she says that there is a peace that can be gained with accepting the ineffable, the ‘not knowing’. Have not most people experienced a sense of peace in accepting things they can do nothing about? It is more, argues Armstrong; it is ‘transcendence’. There are many states, such as particular music, that can bring about transcendence. Her example is of Beethoven’s late string quartets,in which the listener ‘seems to experience sadness directly in a way that transcends ego, because this is not my sadness but sorrow itself’. Armstrong goes on to say, ‘The desire to cultivate a sense of the transcendent may be thedefining human characteristic.’

This startled me. The defining human characteristic? It is an explanation for some young people’s use of alcohol, Ecstasy, and, in earlier generations, LSD. Not just a rite of passage? Timothy Leary meets the Dalai Lama, but the chemical experience is short-lived. It gives a glimpse, a tantalising elusive snippet. We search. The world searches.

Poetry reveals transcendence through nature. Armstrong refers to Wordsworth and his advice to ‘nurture nature within’. If one has a ‘heart that watches and receives’, it becomes possible to ‘hear the silently imparted lessons’ of the streams, mountains, and woods.

The Case for God puts forward that the rise of science has had a major role in the rise of fundamentalism. Mythos is no longer understood to be allegory but must be rationalised. Many religions feel they need to apply ‘logos’, or science, to religion in order to save the belief. Hence the Creationist science abounding in the United States.

The religious, in order to argue with the science, have resorted to science, and both sides have created the current holy–unholy war of words.

I close the books and the journals. The water is muddy. I can no longer see upstream.

I return to the Kimberley and seek solace in its wild spaces. I hike among the gorges with their folded rocks and cockatoos, a wave of white against the orange of the rock and the blueness of the sky. It is the dry season. I drink in the crispness of the air. I am in Woroa country. I sit in the shade of a rock overhang and face the Wandjina men. They stare at me, mouthless and haloed. David Mowaljarlai, a Woroa elder, wrote in his book Yorro Yorro that the Wandjina painted themselves onto the rock when time began.

You see no mouth, because that is beyond our understanding, our wisdom, our knowledge. It is hidden behind mist or fog. That mist separates us from the higher levels that we can’t understand.

The Wandjina are integral to Yorro Yorro: that is, the ‘continual creation and renewal of nature in all its forms’. There is heartbreak in Mowaljarlai’s book. We can hold onto the strings in Beethoven’s quartets, but the transcendence that Aboriginal people had with nature is disappearing.

Once when I walked my country
I was lizard and kangaroo
I was turkey and emu
And the Wandjina walked with me.

‘Is this what you are telling us,’ I address the Wandjina, ‘that we need to walk with you again?’

The world is officially hotter. David Suzuki decries half-hearted attempts to find a solution. He calls for a return to ‘sacred balance’. There are signs. The level-headed economists and scientists are calling for fundamental changes in human values and the way we construct global economics. They speak of the need to develop societies of true compassion.

I turn off the air conditioner in my fibro box of a hotel room. Soon I am sweating. I look at my scribbled notes, crossed out and scribbled again. ‘The key to the existence of mankind was with us very early, thirty thousand years ago, and it survived until recently in the culture of Indigenous people and continues as a thin fragile thread in the voices of our poets and muses.’ Am I making an argument for animism? No, the term does not describe Aboriginal ideology, which seems so much more, but I do not know much of animism or primitive beliefs. Primitive? Is Aboriginal ideology primitive, or was it, is it, God? And what is ‘primitive’? We have progressed beyond that. What is progress? It is a muddy stream.

I get in my car and drive south on the Highway 1 towards Halls Creek. On the road there are immense trucks, each fronted with a thick curved blade several men high. They are the destruction tools of Barramundi Dreaming sites. The hills where the barramundi scales used to glint have been cut down, and the scales are now worn on women’s fingers and men’s tiepins in distant lands. If only they knew, surely.

I pass Purnululu, the country of striped sandstone domes. There is life even in the rocks, for the stripes are caused by cyanobacteria enjoying moisture between layers of oxidised rock. Aboriginal people considered rocks as part of the living, changing landscape. I had listened in Halls Creek, it seems so long ago, to the old people talk about narraku. Narraku is about relationships, with people, with rocks, with trees, lizards, land. They told me everything has a skin name, and that gives you your relationships. That tree might be your sister, or, they said with a giggle, covering their faces with their hands, ‘your mother-in-law!’ They gave me a skin name so that I could fit in with everything. I never remembered it.

I stop at a service station, driving slow in a curve past a group of women and children sitting among the litter on the edge of the concrete pad. The crows in the boab trees are like black feathers on the monks’ hands.

A man strides from the shop with a cigarette hanging from his lip. He pauses to look at the boab tree.

‘Shoot the bastards if I could.’

The crows spread their wings, as if to taunt him. He scowls and flicks the handle on the petrol pump. The bowser pumps in a rhythmic grunt. He is silent. So am I. The wind shivers through the silvery blue leaves of the tall gumtrees that encircle us.

‘It is a shame that the mining has destroyed sacred places.’

Red rag. A tremble passes through him.

‘They reckon the whole bloody country sacred, we can give it to them and then what?’ He gives a rough nod toward the women and their naked children, and slams the nozzle back onto the bowser with a brutal thump.

‘You know,’ he folds his arms and his dirt dusted face abruptly wrinkles in pity, ‘they are gone really, you know. I can’t help. You know this country is in my blood too.’

‘Gone?’

He put his hands in his pockets and shakes his head. ‘They just don’t fit anywhere, anymore.’

I idle the car for a moment. The group of women and children are standing, moving away from the road back into the bush. I ease the car forward onto the highway. An older Aboriginal woman waves at me, then turns away and joins the others. They melt into the bush like wraiths. I push the accelerator in a sudden desire to speed, but I cannot escape these haunting words of Oodgeroo Noonuccal.

We are the quiet daybreak paling the dark lagoon
We are the shadow-ghosts creeping back as the
camp fires burn low.
We are nature and the past, all the old ways
Gone now and scattered.

I am running in the desert. The day is bright but not hot. I have left my car and the asphalt of the highway. My feet are bare, my pace methodical and slow. I am thinking of Matilda. I am thinking of the answer. I know it was there somewhere in her fraught life. I can’t find it, so I think of other things.

I think of when the fourth transition will be. Will it be when much of the world as we know it has disappeared and the microbes disappear because the bones of nature have suddenly become barren? A frenzied feast before famine. Will it be ten years or a hundred? Then maybe there will be another, the fifth transition. That will be a millennium, surely, when some like animal slowly evolves into another humanoid, or a surviving colony of humans in awe of a slowly reviving nature begins to paint again: the animals, the moon, God in the sun’s rays, soft on the new growth.

The rain has come and gone. The beginning of the dry is full of long grasses and tender young saplings. The spinifex pigeons with their bright caps and masked eyes rise in fluttering clouds at the vibration of my step. This used to be where the Gouldian Finches flitted in a speckle of colour across the grasses. They aren’t here anymore. There is no one to look after the land, to burn it gently here and there, so that the old trees are saved and the grasses come up strong and stay the full dry. The finches have nowhere to nest, no food in the dominant grasses. The little birds with their feathers of many colours are almost, not quite yet, extinct.

I am running. Faster. I am on the road where the police found Matilda. The soil is powdery red, deep to my ankles, and rises in small puffs as if I am stamping blood from the earth. I am thinking of her and I am thinking of where we are going in this world. The tears roll down my cheek and for a brief moment the ground is spotted with moisture, but then my tears are covered in dust and dried by the sun.

 Moira McKinnon shared the 2011 Calibre Prize for an Outstanding Essay with Dean Biron, whose essay ‘The Death of the Writer’ appeared in our May 2011 issue. Calibre was presented in association with Copyright Agency Limited’s Cultural Fund.

Principal works cited in this essay:

Karen Armstrong, The Case for God: What Religion Really Means, Vintage, 2009

David Berlinski, The Devil’s Delusion: Atheism and Its Scientific Pretensions, Basic Books, 2009

John Brockman, The Third Culture: Beyond the Scientific Revolution, Simon & Schuster, 1995

Bruce Chatwin, The Songlines,Viking, 1987

Richard Dawkins, The God Delusion: Religion, Terror and the Future of Reason, Bantam Press, 2006

Albert Einstein, Mein Weltbild (The World As I See It), Philosophical Library, 1931

Sam Harris, The End of Faith, W.W. Norton & Co., 2004

Christopher Hitchens, God Is Not Great: How Religion Poisons Everything, Allen & Unwin, 2007

James Lovelock, Gaia: A New Look at Life on Earth, Oxford University Press, 1979

David Mowaljarlai and Malnic Jutta, Yorro Yorro: Everything Standing Up Alive: Spirit of the Kimberley, Magabala Books, 1993

Oodgeroo Noonuccal (Kath Walker), We Are Going: Poems, Jacaranda Press, 1964

David Suzuki, The Sacred Balance: Rediscovering Our Place in Nature, Greystone Books, 1997

Alexis Wright, ‘A Weapon of Poetry’, Overland 193, 2008

CONTENTS: JULY–AUGUST 2011

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Custom Article Title: Owen Richardson reviews 'The Pale King' by David Foster Wallace
Book 1 Title: The Pale King: An Unfinished Novel 
Book Author: David Foster Wallace
Book 1 Biblio: Hamish Hamilton, $39.95 hb, 560 pp, 9781926428178

In David Foster Wallace’s Infinite Jest, set half at a tennis academy and half at a rehab centre, one of the characters says that junior athletics is about sacrificing the ‘hot narrow imperatives of the Self’ to ‘the larger imperatives of the team (OK, the State) and a set of delimiting rules (OK, the Law)’. Meanwhile, the rehab inmates are learning, with the help of the twelve-step program, to overcome the narrow imperatives of their addicted selves. In The Pale King, the academy and the rehab centre have been replaced by an IRS tax-return processing centre in the mid-1980s. The book is similarly concerned with submitting to the law and surrendering to a higher power.

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My husband is proud to claim that in the 1950s, when they were both employed at Covent Garden, he was paid a larger salary than Joan Sutherland was. Fresh from Sydney, she had joined the company in 1952, and was soon appearing in small roles, including Clotilde, opposite Maria Callas’s Norma. This was followed by several years of steady progress and major roles (Agathe, Antonia, Micaela), but no great public success. My husband watched Joan’s progress from the beginning of her time and realised, as did others, that here was a great singer in the making. Then, in February 1959, Sutherland, directed by Franco Zeffirelli, made her triumphant début as Lucia di Lammermoor, and everything changed dramatically, including her fees.

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My husband is proud to claim that in the 1950s, when they were both employed at Covent Garden, he was paid a larger salary than Joan Sutherland was. Fresh from Sydney, she had joined the company in 1952, and was soon appearing in small roles, including Clotilde, opposite Maria Callas’s Norma. This was followed by several years of steady progress and major roles (Agathe, Antonia, Micaela), but no great public success. My husband watched Joan’s progress from the beginning of her time and realised, as did others, that here was a great singer in the making. Then, in February 1959, Sutherland, directed by Franco Zeffirelli, made her triumphant début as Lucia di Lammermoor, and everything changed dramatically, including her fees.

Read more: 'Memories of Joan Sutherland' by Patricia Harewood

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Open Page with Delia Falconer
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Living life in only one dimension, without having another world or set of characters to visit, doesn’t seem enough. I’m always happier when I’m writing, and not so easy to live with when I’m not.

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Why do you write?

I wish I knew. Living life in only one dimension, without having another world or set of characters to visit, doesn’t seem enough. I’m always happier when I’m writing, and not so easy to live with when I’m not.

Are you a vivid dreamer?

Very! I have dreams from time to time that are strange literalisations of metaphorical terms; and, sometimes, ones that create metaphors for other people’s relationships or relationship problems (these can be quite prescient!).

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Custom Article Title: Jay Daniel Thompson reviews 'When We Have Wings' by Claire Corbett
Book 1 Title: When We Have Wings
Book Author: Claire Corbett
Book 1 Biblio: Allen & Unwin, $32 pb, 472 pp, 9781742375564

When We Have Wings, the first novel by Blue Mountains journalist Claire Corbett, offers an ambitious and politically engaged blend of detective narrative, family melodrama, and futuristic thriller. In the dystopian world that Corbett depicts, social élites are distinguished by their ability to fly. These elect ‘fliers’ soar through the air using genuine wings. One such flier is the affluent Peter Chesshyre, whose child’s nanny, Peri, seemingly unhealthily fixated, abducts his baby son, Hugo.

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Custom Article Title: Tim Brewer reviews 'Bearings' by Leah Swann
Book 1 Title: Bearings
Book Author: Leah Swann
Book 1 Biblio: Affirm Press, $24.95 pb, 198 pp, 9780980790429

Leah Swann’s first fiction publication comprises a novella and seven short stories, all dealing with themes relating to the book’s title, Bearings. Each short story provides a familiar plot in which Swann’s characters search for meaning and direction: a young boy deciding which parent to live with; an old woman reflecting on a hard life; and two forty-somethings looking for love, to name a few.

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Contents Category: Fiction
Custom Article Title: Gregory Kratzmann reviews 'The Stranger's Child' by Alan Hollinghurst
Book 1 Title: The Stranger’s Child 
Book Author: Alan Hollinghurst
Book 1 Biblio: Picador, $32.99 pb, 564 pp, 9780330483247

Weeks before its release, the Man Booker tipsters are laying short odds on Alan Hollinghurst’s new novel, the successor to his 2004 winner, The Line of Beauty. Booker cynics might agree that the great British literary race has in some seasons had more in common with pin-the-tail-on-the-donkey than the Derby, but here is surely a promising contender for 2011’s glittering prize. Where The Line of Beauty (and the television series it inspired) explored the fissures and frissons of Thatcher’s Britain, The Stranger’s Child turns its equally candid and often witty gaze on a broader sweep of English social history.

Read more: Gregory Kratzmann reviews 'The Stranger's Child' by Alan Hollinghurst

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Contents Category: Fiction
Custom Article Title: Brenda Niall reviews 'A Man of Parts' by David Lodge
Book 1 Title: A Man of Parts: A Novel
Book Author: David Lodge
Book 1 Biblio: Harvill Secker, $32.95 pb, 565 pp, 9781846554971
Book 1 Author Type: Author

Nearly seven years ago, David Lodge had the bad luck to collide with Colm Tóibín when both writers produced a novel about Henry James. Tóibín was the first to publish; his work The Master (2004) won high praise and a Booker Prize nomination. Lodge’s Author, Author (2004), trailing six months behind, suffered in the inevitable comparisons. There had been plenty of excitement about the idea of using the novel form to tell the story of this famous life, but little was left for Lodge’s enterprise. Tóibín had used up most of the oxygen. If the order of publication had been reversed, it might have been different.

Read more: Brenda Niall reviews 'A Man of Parts' by David Lodge

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Contents Category: Fiction
Custom Article Title: Felicity Plunkett reviews 'The Amateur Science of Love' by Craig Sherborne
Book 1 Title: The Amateur Science of Love 
Book Author: Craig Sherborne
Book 1 Biblio: Text Publishing, $32.95 pb, 288 pp, 9781921758010

Amateurs are untrained but fired by enthusiasm for their subject. By definition, an amateur is passionate about something (in this case love itself, being a lover, and Tilda, the loved object) but the word implies less seriousness than the word ‘science’ does, and can be a pejorative.

Read more: Felicity Plunkett reviews 'The Amateur Science of Love' by Craig Sherborne

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Contents Category: Fiction
Custom Article Title: Francesca Sasnaitis reviews 'Harry Curry' by Stuart Littlemore
Book 1 Title: Harry Curry: Counsel of Choice 
Book Author: Stuart Littlemore
Book 1 Biblio: HarperCollins, $29.99 pb, 320 pp, 9780732293420

Stuart Littlemore was the inaugural compère of ABC TV’s Media Watch, and is remembered for his acerbic wit and incisive analysis. Clearly, his long career as a Sydney silk has given him enough material to fill this first novel, Harry Curry: Counsel of Choice. I suspect there is plenty left over for more than one sequel.

With a nod to Littlemore’s parallel career in documentary film and television, Harry Curry opens with a cinematic description of a jet’s arrival at a small coastal airport. Holidaymakers are greeted by police and sniffer dogs, and two young women are arrested on suspicion of possessing prohibited drugs. Luckily, this is Ballina, not Bali. As the women are taken into custody, we are introduced to our eponymous hero as he drives along Macquarie Street, Sydney, in a battered Jag belonging to an incarcerated client. Like Shane Maloney’s Murray Whelan, Harry Mould (the ‘Mould’ is never explained) Curry is a flawed hero. He comes from a privileged family, but has chosen to stray from their traditional preference for corporate law into criminal defence. He wears the appurtenances of his profession with cynical aplomb; he is impecunious and irascible. Clients and junior court officers adore him, but he is not universally admired by his colleagues; judges find him impudent and intimidating. That Curry is ‘strikingly ugly’ augurs well for readers who prefer hard men to pretty boys.

Read more: Francesca Sasnaitis reviews 'Harry Curry' by Stuart Littlemore

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Contents Category: Fiction
Custom Article Title: Christine Piper reviews 'The Vanishing Act' by Mette Jakobsen
Book 1 Title: The Vanishing Act 
Book Author: Mette Jakobsen
Book 1 Biblio: Text Publishing, $23.95 pb, 240 pp, 9781921758195

The début novel from Danish-born, Australia-based author Mette Jakobsen resembles a riddle: a tiny island in the middle of the ocean battered by wind, snow, and rain, sometime after the war; three men, a girl, a dog, a dead boy, a missing woman.

Read more: Christine Piper reviews 'The Vanishing Act' by Mette Jakobsen

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Contents Category: Fiction
Custom Article Title: Amy Baillieu reviews 'Love, Honour & O'Brien' by Jennifer Rowe
Book 1 Title: Love, Honour & O'Brien
Book Author: Jennifer Rowe
Book 1 Biblio: Allen & Unwin, $22.99 pb, 360 pp, 9781742375830

When Holly Love heads to the Blue Mountains to marry her fiancé, Andrew McNish, after a quick romance, she doesn’t expect to end the day penniless, homeless, jobless, and jilted. After she takes refuge in Andrew’s empty office with her few remaining possessions and a bottle of Moët, Holly’s shock is replaced by a determination to find and confront him. She hires a private investigator, the ‘sly, tired and eggstained’ Mick O’Brien, but things don’t go to plan and Holly finds herself briefly (and mistakenly) accused of murder by O’Brien’s neighbours. However, the women quickly befriend Holly and even encourage her to move into O’Brien’s vacated apartment. A series of misunderstandings sees Holly masquerading as O’Brien’s business partner, pursued by thugs, and employed by the fanatical Una Maggott, who is also looking for Andrew.

Read more: Amy Baillieu reviews 'Love, Honour & O'Brien' by Jennifer Rowe

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Contents Category: Fiction
Custom Article Title: Carol Middleton reviews 'The Lace Tablecloth' by Anastasia Gessa-Liveriadis
Book 1 Title: The Lace Tablecloth 
Book Author: Anastasia Gessa-Liveriadis
Book 1 Biblio: Sid Harta, $24.95 pb, 358 pp, 1921829389

The Lace Tablecloth is the second novel by Anastasia Gessa-Liveriadis, who was born in Macedonia in 1935. It is the story of Tasia, who ostensibly serves as the author’s alter ego, living through World War II and the civil war in Macedonia, before emigrating to Australia as a young woman.

Read more: Carol Middleton reviews 'The Lace Tablecloth' by Anastasia Gessa-Liveriadis

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Contents Category: Australian History
Custom Article Title: John Rickard reviews '1835: The Founding of Melbourne and the Conquest of Australia' by James Boyce
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The title of this book might, to an innocent observer, suggest a triumphalist history, an impression that could be reinforced by the preface, which argues that the setting up of a squatters’ camp on the banks of the Yarra in 1835 ‘had a significance far beyond the baptism of a great city’, and concludes with the ...

Book 1 Title: 1835: The Founding of Melbourne and the Conquest of Australia
Book Author: James Boyce
Book 1 Biblio: Black Inc., $44.95 hb, 257 pp, 9781863954754

The title of this book might, to an innocent observer, suggest a triumphalist history, an impression that could be reinforced by the preface, which argues that the setting up of a squatters’ camp on the banks of the Yarra in 1835 ‘had a significance far beyond the baptism of a great city’, and concludes with the remarkable declaration that ‘in this place, at this time, “Australia” was born’. More on this attention-grabber later, but James Boyce is in fact questioning the whole process whereby the Port Phillip District was founded and the dramatic expansion of settlement beyond the government-determined limits of location unleashed. In a way, 1835: The Founding of Melbourne and the Conquest of Australia can be seen as a sequel to Boyce’s much-admired environmentalist rewriting of Tasmanian colonial history, Van Diemen’s Land (2008), which brought its story to a close with a chapter on ‘Victoria’s Van Diemonian Foundation’.

Read more: John Rickard reviews '1835: The Founding of Melbourne and the Conquest of Australia' by James Boyce

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Contents Category: Film
Custom Article Title: Jane Eyre
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The opening frames of Cary Joji Fukunaga’s Jane Eyre are startling. Charlotte Brontë’s novel, published in 1847, is a trenchant portrait of female entrapment, but this new adaptation immediately thrusts us outside. A fully grown Jane (Mia Wasikowska) hastens down a hill slope and roams around a vast, viridian moorland. Nearly thirty film and television adaptations have led us to expect to discover Jane as a juvenile prisoner of Gateshead, confined to the sliver of space between window and curtain while a flabby, menacing John Reed hunts her down. Instead, a bird’s-eye shot shows Jane at a crossroad, and subsequent close-ups divulge her crying, the thing she has most been at pains to suppress. The twenty-first-century Jane Eyre is less a victim of cages and cruelties than she is cosmically alone.

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The opening frames of Cary Joji Fukunaga’s Jane Eyre are startling. Charlotte Brontë’s novel, published in 1847, is a trenchant portrait of female entrapment, but this new adaptation immediately thrusts us outside. A fully grown Jane (Mia Wasikowska) hastens down a hill slope and roams around a vast, viridian moorland. Nearly thirty film and television adaptations have led us to expect to discover Jane as a juvenile prisoner of Gateshead, confined to the sliver of space between window and curtain while a flabby, menacing John Reed hunts her down. Instead, a bird’s-eye shot shows Jane at a crossroad, and subsequent close-ups divulge her crying, the thing she has most been at pains to suppress. The twenty-first-century Jane Eyre is less a victim of cages and cruelties than she is cosmically alone.

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Andrew Montana reviews Vienna: Art and Design: Klimt, Schiele, Hoffmann, Loos by Christian Witt-Dörring et al.
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‘Vienna has little to offer its great while they are alive. But when they have departed, a funeral monument and a place in the museum is arranged for them.’ So wrote the critic Oskar Marus Fontana, with veiled anti-Semitism, in a Munich periodical when the Wiener Wersktätte (WW) closed in 1932. From 1903 this famous Viennese design firm created innovative and finely crafted decorative arts, and fitted out modern interiors in concert with the major aesthetic philosophy shared by Secessionist artists, architects, and designers who worked under its banner in Vienna – the Gesamtkunstwerk (total work of art). Swimming against tides of cultural, political, and economic change during the later 1920s, the WW was dissolved after its last ‘exhibition’ in 1932 – a large auction sale of more than seven thousand objects, many of which sold below their estimates.

Book 1 Title: Vienna
Book 1 Subtitle: Art and Design: Klimt, Schiele, Hoffmann, Loos
Book Author: Christian Witt-Dörring et al.
Book 1 Biblio: National Gallery of Victoria, $49.95 pb, 328 pp
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‘Vienna has little to offer its great while they are alive. But when they have departed, a funeral monument and a place in the museum is arranged for them.’ So wrote the critic Oskar Marus Fontana, with veiled anti-Semitism, in a Munich periodical when the Wiener Wersktätte (WW) closed in 1932. From 1903 this famous Viennese design firm created innovative and finely crafted decorative arts, and fitted out modern interiors in concert with the major aesthetic philosophy shared by Secessionist artists, architects, and designers who worked under its banner in Vienna – the Gesamtkunstwerk (total work of art). Swimming against tides of cultural, political, and economic change during the later 1920s, the WW was dissolved after its last ‘exhibition’ in 1932 – a large auction sale of more than seven thousand objects, many of which sold below their estimates.

Read more: Andrew Montana reviews 'Vienna: Art and Design: Klimt, Schiele, Hoffmann, Loos' by Christian...

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Penny Hanley reviews Between the Leaves: Stories of Australian Women, Writing and Gardens by Katie Holmes
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For historian Katie Holmes, researching and writing Between the Leaves was a journey of discovery and interpretation. In her examination of the records left by nine women – through their words and the signatures they left on the land – the author discovered some of the meanings that writing and gardening held for them. Holmes was also drawn to ways an individual’s story can illuminate a larger picture. Sites of women’s stories are also places where the nation’s stories can be found: ‘Within this book, women’s home and garden belong in history, rather than as a mere adjunct to it.’

Book 1 Title: Between the Leaves
Book 1 Subtitle: Stories of Australian Women, Writing and Gardens
Book Author: Katie Holmes
Book 1 Biblio: UWA Publishing, $34.95 pb, 304 pp
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For historian Katie Holmes, researching and writing Between the Leaves was a journey of discovery and interpretation. In her examination of the records left by nine women – through their words and the signatures they left on the land – the author discovered some of the meanings that writing and gardening held for them. Holmes was also drawn to ways an individual’s story can illuminate a larger picture. Sites of women’s stories are also places where the nation’s stories can be found: ‘Within this book, women’s home and garden belong in history, rather than as a mere adjunct to it.’

Read more: Penny Hanley reviews 'Between the Leaves: Stories of Australian Women, Writing and Gardens' by...

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Contents Category: Cookery Books

Tutti a tavola

Christopher Menz

 

Cookery books by immigrants or their descendants on the food of their homelands form a rich sub-genre of migration literature. Several books have been published in recent decades that celebrate the food of Greek, French, Chinese, and German immigrants. Clearly, old food habits die hard. Even when other aspects of an immigrant’s culture have long been abandoned – language, mores, dress – culinary tastes often endure. I well remember meals in 1970s Adelaide with Lachsschinken, Mettwurst, Heringssalat, Pumpernickel, and rye bread, all a remnant of my father’s German ancestry. Nothing unusual about that, except that his great-grandparents had settled in Adelaide in 1849. Even though they assimilated quickly, their descendants retained their taste for German tucker. On the other hand, the food they made and sold for a living – in 1850 my great-great-grandmother established a store that became a large biscuit and confectionery business – was firmly allied to the Anglo food tastes of their customers (though some of their manufacturing equipment was indeed German).

Read more: Teresa Oates and Angela Villella: Mangia! Mangia!; and Nouha Taouk: Whispers from a Lebanese Kitchen

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Contents Category: Music
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Over the decades, Richard Strauss has been well served by English-language commentators and scholars, ranging from George Bernard Shaw, through Norman del Mar’s magisterial three-volume study (1962–72), to Michael Kennedy’s shorter, though no less illuminating, critical biography (1999). The focus of Raymond Holden’s work is explicitly narrower than theirs, offering as it does a thorough documentation of Strauss’s career as a practising musician and jobbing conductor.

Book 1 Title: Richard Strauss
Book 1 Subtitle: A musical life
Book Author: Raymond Holden
Book 1 Biblio: Yale University Press (Inbooks), $45 hb, 316 pp
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Over the decades, Richard Strauss has been well served by English-language commentators and scholars, ranging from George Bernard Shaw, through Norman del Mar’s magisterial three-volume study (1962–72), to Michael Kennedy’s shorter, though no less illuminating, critical biography (1999). The focus of Raymond Holden’s work is explicitly narrower than theirs, offering as it does a thorough documentation of Strauss’s career as a practising musician and jobbing conductor.

Read more: Michael Morley reviews 'Richard Strauss: A musical life' by Raymond Holden

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Joan Grant reviews From Vienna to Yogyakarta: The Life of Herb Feith by Jemma Purdey
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Jamie Mackie’s recent death was a sad reminder of a time when enthusiasm for Asian studies mirrored the Australian government’s developing perception that the future lay in ‘our’ part of the world. The small cohort of academics who initiated these studies were genuine pioneers. For instance, Mackie, in the decades after 1958, became founding Head of Indonesian Studies at Melbourne University, founding Research Director of South-East Asian Studies at Monash University, and founding Professor of Political and Social Change in the Pacific and Asia at the Australian National University. Prior to World War II, there had been virtually no Asian studies in Australia. Now the field was wide open for those who were skilled and interested, and Herb Feith was among the earliest.

Book 1 Title: From Vienna to Yogyakarta
Book 1 Subtitle: The Life of Herb Feith
Book Author: Jemma Purdey
Book 1 Biblio: UNSW Press, $69.95 pb, 576 pp
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Jamie Mackie’s recent death was a sad reminder of a time when enthusiasm for Asian studies mirrored the Australian government’s developing perception that the future lay in ‘our’ part of the world. The small cohort of academics who initiated these studies were genuine pioneers. For instance, Mackie, in the decades after 1958, became founding Head of Indonesian Studies at Melbourne University, founding Research Director of South-East Asian Studies at Monash University, and founding Professor of Political and Social Change in the Pacific and Asia at the Australian National University. Prior to World War II, there had been virtually no Asian studies in Australia. Now the field was wide open for those who were skilled and interested, and Herb Feith was among the earliest.

Read more: Joan Grant reviews 'From Vienna to Yogyakarta: The Life of Herb Feith' by Jemma Purdey

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Contents Category: Commentary
Custom Article Title: 'Hautes Fenêtres: Thoughts on the place of translation in recent Australian poetry' by Simon West
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In a 1995 interview for the Paris Review, Ted Hughes was asked if the 1960s boom in translated poetry, particularly with series such as the Penguin Modern European Poets, had influenced poetry written in England. ‘Has it modified the British tradition!’ he replied. ‘Everything is now completely open, every approach, with infinite possibilities. Obviously the British tradition still exists as a staple of certain historically hard-earned qualities if anybody is still there who knows how to inherit them. Raleigh’s qualities haven’t become irrelevant. When I read Primo Levi’s verse I’m reminded of Raleigh. But for young British poets, it’s no longer the only tradition, no longer a tradition closed in on itself and defensive.’

Read more: 'Hautes Fenêtres: Thoughts on the place of translation in recent Australian poetry' by Simon West

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Contents Category: Commentary
Custom Article Title: 'The divine stenographer: Victor Hugo and the glory of narrative' by Brian Nelson

For many of his contemporaries, Victor Hugo (1802–85) was the most important literary figure of the nineteenth century. He was considered the greatest French poet; he became the leader of the Romantic movement with the staging of his anti-classical play Hernani (1830); and he wrote monumental, hugely popular novels. He was also an iconic political figure. He played an active part in the 1848 Revolution on behalf of the Republicans, as a deputy for Paris; and in December 1851, when Louis Bonaparte (Napoleon’s nephew) staged his coup d’état against the Republic and restored the Empire, the Poet stood up against the Despot. Hugo tried unsuccessfully to organise resistance to the coup, and then, fearing for his life, fled Paris, disguised as a worker, and took refuge in Brussels. There he wrote Napoléon le Petit, a brilliant political pamphlet attacking the imperial régime. From Brussels he went to the Channel Islands, where he remained until the fall of the Second Empire in 1870.

Hugo returned to France in triumph. His prestige grew even greater as the Third Republic consolidated itself. When he died, in 1885, he was given a state funeral; it was as an icon of Republican ideals, a symbol of France itself, that he was laid to rest. Two million people followed the funeral procession to the newly deconsecrated Panthéon. In 1827 Hugo published a preface to his (unacted and unactable) play Cromwell.Though diffuse and repetitious, this text is of major importance in the development of the theory of modern drama and literature. It was the literary manifesto of Hugo’s generation. Equating Romanticism with the democratic spirit of the modern, post-revolutionary period, he called for a rejection of classical aesthetic doctrine, with its rule-bound insistence on the separation of the genres of tragedy (the sublime) and comedy (the grotesque), the unities of time and place, and a highly regulated poetic diction.

The most revolutionary of the Romantic innovations concerned language. The number of words considered permissible in French poetry (including verse drama) had been slowly diminishing since the days of Racine. A distinction had grown between words that were ‘noble’ and words that were ‘common’; and only the former were allowed in poetry. The strength of these conventions may be measured by the fact that the use of the word ‘mouchoir’ (handkerchief) during a performance of Othello a few years before 1830 produced a riot in the theatre. Hugo and his fellow Romantics threw the doors of poetry wide open to every available word and form of expression. The violence of the battle over Romanticism may be appreciated if one understands that the struggle was not simply academic, nor between the advocates of artistic freedom and those who believed that the form of expression must depend on tradition and a system of ‘rules’; Hugo’s dislodgement of the cultural norms of the establishment made it seem that the whole social order was, once more, being brought into question. In the polemical preface he wrote to the first edition of Hernani he declared that nineteenth-century France, as a new society with a new people, required a new literature.

In some ways it was unfortunate that the main battle over Romanticism took place in the theatre. Hernani is a piece of bombastic melodrama. Hugo’s later play Ruy Blas (1838) is somewhat better; but the main achievements of Romanticism lay in poetry and the novel. It is commonly agreed that, in one way or another, the whole of French poetry since Hugo owes him tribute. Without his enormous contribution to the revitalisation of poetic forms, the modernist experiments of Baudelaire, Rimbaud, Mallarmé, and Valéry would not have been possible. Hugo’s major prose narratives are works of historical fiction that reflect, in one way or another, the politics and social realities of the nineteenth century. The Hunchback of Notre-Dame (Notre-Dame de Paris, 1831) is bound up with the 1830 Revolution; Les Misérables (1862) with Hugo’s vendetta against Napoleon III; Ninety-Three (Quatrevingt-treize, 1874) with Hugo’s desire to help France find nationhood after the trauma of the Paris Commune. However, Hugo’s version of the historical novel is of a distinctive kind. His novels are extraordinarily rich in scope and style, to the extent that they defy conventional generic categorisation; they are characterised above all by their visionary and poetic force.

Hugo’s unique ability to combine drama, narrative, and poetry became apparent in The Hunchback of Notre-Dame, a tale of desire set in late medieval Paris, where all life is dominated by the great cathedral. The novel’s patterns of antithesis include the symbolic opposition between the king, the cruel and superstitious Louis XI, and the underworld of beggars and petty criminals whose night-time assault on the cathedral is one of the most spectacular setpieces of Romantic literature. The generous-spirited outcasts of society – the ‘grotesque’ hunchback Quasimodo and the gypsy dancer Esmeralda are exemplary Romantic heroes in this respect – are set in opposition to the dark forces of law and order.

‘The book was an enormous popular success, not only in France but throughout the world.’

The figure of the sublime outlaw finds its quintessential expression in Jean Valjean, the protagonist of Les Misérables. An honest peasant, he is sentenced to five years’ hard labour for stealing a loaf of bread, then nineteen more for trying to escape. Turned into a hardened criminal by his experiences, he reforms, establishes a new identity for himself, and becomes the respected mayor of a French town, where he befriends a young working woman named Fantine, who is forced into prostitution to support her child, Cosette. Valjean’s conscience compels him to reveal his true identity when an innocent vagrant, falsely accused of stealing apples, is mistaken for him. Valjean is imprisoned once more, but escapes. His flight from his nemesis, the police inspector Javert, culminates in one of the most famous scenes in literature, the chase through the sewers of Paris. The story of how Valjean struggles to escape his past and reaffirm his humanity in a world brutalised by poverty and ignorance became the Bible of the poor and the oppressed.

The book was an enormous popular success, not only in France but throughout the world. Its success as a didactic work on behalf of the poor was due in large measure to its powerful mythic dimension. Les Misérables is less a novel than an immense prose poem, perhaps the last and only genuine epic of modern times. Les Misérables is popular literature in the sense that Homer is popular literature: it addresses all mankind. It is deeply Romantic, not only in its humanitarian ideology, but also in its monumental exuberance of both form and content. Hugo’s vision is kaleidoscopic, his range of styles extraordinary. The narrative is strewn with his thoughts on society, politics, and religion, and regularly interrupted by encyclopedic digressions on such disparate topics as the linguistic structure of slang and the economics of recycling sewage; there is also a dissertation on closed religious orders and an epic retelling of the Battle of Waterloo.

The reputation Hugo acquired in the twentieth century as a master of sentimental clichés and pompous rhetoric has tended to obscure the complexities and inventiveness of his writing. Critics have argued increasingly, however, that a rereading of Hugo’s novels, especially Les Misérables, will reveal how surprisingly moderna writer he is. Les Misérables is one of the most ambitious narrative creations of the nineteenth century. It is not simply the story of a religious quest for redemption, and a novel of adventure akin to the sensational feuilleton literature of Eugène Sue (1804–57); it is an experiment in writing. Not only does Hugo’s prose have a surprising freshness, but the novel’s dazzlingly protean shapes – its multiplicity of voices, styles, and metaphoric patterns – make it one of the great novels of literary modernity.

Mario Vargas Llosa, in an expanded version of lectures given in Oxford in 2004 (The Temptation of the Impossible: Victor Hugo and Les Misérables, translated by John King, Princeton University Press, 2007, $36.95 hb, 208 pp, 9780691131115), succeeds admirably in evoking the essence of Hugo and, in so doing, offers some eloquent reflections on the art of fiction writing. The most important task of the novelist, he argues, is to invent a narrator. In Les Misérables, the narrator becomes the main character: remarkable for his ‘omniscience, omnipotence, exuberance, visibility, and egomania’, he is a ‘divine stenographer’ intent on writing a ‘total novel’, a splendid fiction that would enable its readers to experience the ‘vicarious, transient, precarious, and fascinating life of fiction’ and thereby to ‘incorporate the impossible into the possible’, which then helps readers to enjoy a richer, more intense existence beyond the ‘high-security prison that is real life’ and to ‘imagine a different and better world’. Is this not, Vargas Llosa asks, why novels exist?

Julie Rose has made a significant contribution, with her sharp and idiomatic translation of Les Misérables (Vintage, $29.95 pb, 1372 pp, 9780099511137), to the recent revaluation of Hugo as articulated by Vargas Llosa. She reproduces the freshness of Hugo’s prose, the precise sound of his voice, the specific rhythms and shapes of his sentences (including staccato sentences he suddenly throws at the reader after very long ones). She succeeds throughout her translation in creating a language that is rich and vibrant, lively and dramatic, and well suited to a long narrative – close to the captivating, quirky, racy tone that Hugo would have struck for his contemporaries. Moreover, unlike nearly all previous translators of the novel, she gives us the novel in its full unabridged glory.

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William Heyward reviews New Impressions of Africa by Raymond Roussel, translated by Mark Ford
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Like all of his earlier books, Raymond Roussel’s final work, New Impressions of Africa, published in 1932, was printed at his personal expense, and only after he was satisfied that the poem was as good as possible. He claimed that each line took fifteen hours to compose. Roussel wanted his work to have enduring importance, and wrote a book entitled How I Wrote Certain of My Books to help readers who might otherwise misunderstand his method (it appeared in 1935, two years after his suicide). Roussel, thanks to his vast inherited wealth, was a writer who answered to no one and nothing, except his own inimitable vision.

Book 1 Title: New Impressions of Africa
Book 1 Subtitle: Nouvelles Impressions d’Afrique
Book Author: Raymond Roussel, translated by Mark Ford
Book 1 Biblio: Footprint Books, $47.95 hb, 253 pp
Book 1 Author Type: Author
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Like all of his earlier books, Raymond Roussel’s final work, New Impressions of Africa, published in 1932, was printed at his personal expense, and only after he was satisfied that the poem was as good as possible. He claimed that each line took fifteen hours to compose. Roussel wanted his work to have enduring importance, and wrote a book entitled How I Wrote Certain of My Books to help readers who might otherwise misunderstand his method (it appeared in 1935, two years after his suicide). Roussel, thanks to his vast inherited wealth, was a writer who answered to no one and nothing, except his own inimitable vision.

Read more: William Heyward reviews 'New Impressions of Africa' by Raymond Roussel, translated by Mark Ford

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Contents Category: History
Custom Article Title: Grazia Gunn reviews 'Cairo: Histories of a City' by Nezar AlSayyad
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Italo Calvino once wrote that ‘cities are like dreams: their rules seem absurd, their perspectives are often deceitful, and everything in them conceals something else’, hence ‘we should take delight not in a city’s wonders, whether these number seven or seventy, but in the answers a city can ...

Book 1 Title: Cairo: Histories of a City
Book Author: Nezar AlSayyad
Book 1 Biblio: Harvard University Press (Inbooks), $45 hb, 344 pp, 9780674047860

Italo Calvino once wrote that ‘cities are like dreams: their rules seem absurd, their perspectives are often deceitful, and everything in them conceals something else’, hence ‘we should take delight not in a city’s wonders, whether these number seven or seventy, but in the answers a city can give to questions we pose, or in the questions it asks us in return’. Nezar AlSayyad reminds us of Calvino’s remark in this marvellously learned and readable study, which traces the major changes to the urban form of Cairo from the time of Rameses II (1290–1224 bce) to that of Osni Mubarak in the twenty-first century, and which poses, in this same spirit of enquiry, a number of suggestive questions.

Read more: Grazia Gunn reviews 'Cairo: Histories of a City' by Nezar AlSayyad

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Bruce Moore reviews Green’s Dictionary of Slang by Jonathon Green
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Dictionaries of slang have a history as long as that of dictionaries of Standard English, and both kinds of dictionary arose from a similarity of needs. The need for a guide to ‘hard’ words generated the earliest standard dictionaries; the need for a guide to the language of ‘hard cases’ (beggars, thieves, and criminals generally) generated the earliest slang dictionaries. Samuel Johnson produced his Dictionary of the English Language in 1755. In 1785 Francis Grose published A Classical Dictionary of the Vulgar Tongue, a work that includes an array of slang words that would never find a home in Johnson’s lexicographic world. Similarly, when the Oxford English Dictionary project was producing its first fascicles at the end of the nineteenth century, an alternative view of what constitutes the lexicon of English was presented in A. Barrère and C.G. Leland’s A Dictionary of Slang, Jargon and Cant (two volumes, 1889–90) and in J.S. Farmer and W.E. Henley’s Slang and Its Analogues (seven volumes, 1890–1904).

Book 1 Title: Green’s Dictionary of Slang
Book Author: Jonathon Green
Book 1 Biblio: Chambers, $580 hb, 3 volumes, 6,085 pp
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Dictionaries of slang have a history as long as that of dictionaries of Standard English, and both kinds of dictionary arose from a similarity of needs. The need for a guide to ‘hard’ words generated the earliest standard dictionaries; the need for a guide to the language of ‘hard cases’ (beggars, thieves, and criminals generally) generated the earliest slang dictionaries. Samuel Johnson produced his Dictionary of the English Language in 1755. In 1785 Francis Grose published A Classical Dictionary of the Vulgar Tongue, a work that includes an array of slang words that would never find a home in Johnson’s lexicographic world. Similarly, when the Oxford English Dictionary project was producing its first fascicles at the end of the nineteenth century, an alternative view of what constitutes the lexicon of English was presented in A. Barrère and C.G. Leland’s A Dictionary of Slang, Jargon and Cant (two volumes, 1889–90) and in J.S. Farmer and W.E. Henley’s Slang and Its Analogues (seven volumes, 1890–1904).

Read more: Bruce Moore reviews 'Green’s Dictionary of Slang' by Jonathon Green

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Peter Edwards reviews Australia and the New World Order: From Peacekeeping to Peace Enforcement: 1988–1991 by David Horner
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Contents Category: Military History
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When the United States recently announced its commitment to enforce a ‘no-fly zone’ in Libya, the State Department spokesman was asked whether the United States was now at war. He could only manage a floundering non-answer. The unfortunate spokesman’s difficulty with this apparently simple question is a reminder of the vast changes in the nature of military conflict in recent decades. Major conflicts are seldom a matter of one state formally declaring war on another, with a largely agreed set of rules on the conduct of operations (sometimes flouted in horrific ways) and with some generally accepted markers of victory and defeat.

Book 1 Title: Australia and the ‘New World Order’
Book 1 Subtitle: From Peacekeeping to Peace Enforcement: 1988–1991
Book Author: David Horner
Book 1 Biblio: Cambridge University Press, $150 hb, 696 pp
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When the United States recently announced its commitment to enforce a ‘no-fly zone’ in Libya, the State Department spokesman was asked whether the United States was now at war. He could only manage a floundering non-answer. The unfortunate spokesman’s difficulty with this apparently simple question is a reminder of the vast changes in the nature of military conflict in recent decades. Major conflicts are seldom a matter of one state formally declaring war on another, with a largely agreed set of rules on the conduct of operations (sometimes flouted in horrific ways) and with some generally accepted markers of victory and defeat.

Read more: Peter Edwards reviews 'Australia and the "New World Order": From Peacekeeping to Peace...

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Contents Category: Military History
Custom Article Title: Peter Pierce reviews 'P.O.W.: Australian Prisoners of War in Hitler’s Reich' by Peter Monteath
Book 1 Title: P.O.W.: Australian Prisoners of War in Hitler’s Reich
Book Author: Peter Monteath
Book 1 Biblio: Macmillan, $34.99 pb, 429 pp, 9781742610085
Book 1 Author Type: Author

Of the fate of Australian prisoners of war in the hands of the Japanese during World War II, the literature – memoir, fiction, history – is voluminous. There were 21,652 of them, of whom thirty-five per cent, or 7780, perished. A good deal has also been written of enemy prisoners – Japanese, German, Italian – who were held in camps in this country, and in particular of the mass breakout at Cowra on 5 August 1944, when 231 Japanese and four Australians died. Less attention has been given to the 8500 who returned to Australia after having been prisoners of the Germans or Italians, or of the 242 of them who died in Europe. These ‘Australian prisoners of war in Hitler’s Reich’ are the subject of Peter Monteath’s vivid and expansive study P.O.W..

Read more: Peter Pierce reviews 'P.O.W.: Australian Prisoners of War in Hitler’s Reich' by Peter Monteath

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Richard Broinowski reviews Reporter: Forty Years Covering Asia by John McBeth
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Contents Category: Journalism
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From childhood on a dairy farm in the flats beneath Mount Egmont, in New Zealand, John McBeth rose to become a senior foreign correspondent with the Far Eastern Economic Review, one of Asia’s most influential English-language news magazines. Like other old-school journalists, he asserts at the beginning of his highly entertaining memoir that no one can be ‘taught’ journalism; you are either born one, or not. So it proved in his case. A liberal arts education might have made the younger John a more reflective autodidact, but possibly not a more successful journalist.

Book 1 Title: Reporter
Book 1 Subtitle: Forty Years Covering Asia
Book Author: John McBeth
Book 1 Biblio: Talisman Publishing, $42 hb, 384 pp
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From childhood on a dairy farm in the flats beneath Mount Egmont, in New Zealand, John McBeth rose to become a senior foreign correspondent with the Far Eastern Economic Review, one of Asia’s most influential English-language news magazines. Like other old-school journalists, he asserts at the beginning of his highly entertaining memoir that no one can be ‘taught’ journalism; you are either born one, or not. So it proved in his case. A liberal arts education might have made the younger John a more reflective autodidact, but possibly not a more successful journalist.

Read more: Richard Broinowski reviews 'Reporter: Forty Years Covering Asia' by John McBeth

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Contents Category: Children's Fiction
Custom Article Title: Ruth Starke reviews eight recent children's books

Linda and Paul McCartney, so the story goes, became vegetarians the moment they looked up from a delicious meal of roast lamb and saw a flock of lambs gambolling in the field beyond their cottage. Young readers of Pamela Freeman’s Lollylegs (Walker Books, $11.95 pb, 64 pp, 9781921529078) might well have a similar reaction, since the connection in Lollylegs between the meal on the table and the cute animal chomping on grass is made painfully clear.

Read more: Ruth Starke reviews eight recent children's books

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Contents Category: Young Adult Fiction
Custom Article Title: Bec Kavanagh reviews 'Pig Boy' by J.C. Burke
Book 1 Title: Pig Boy 
Book Author: J.C. Burke
Book 1 Biblio: Random House, $18.95 pb, 336 pp, 9781741663129

Damon Styles keeps a list of those who have crossed him. In a small, bully-rich town like Strathven, there are a lot of them. Damon has a plan, though, and getting his gun licence is only part of it. Next he needs to get a job with the Pigman. Nobody really knows the latter. He is foreign, shoots pigs, and keeps to himself, which is quite enough to fuel rumours in Strathven. Damon knows that the Pigman can teach him what he needs to know about implementing his plan, but he doesn’t know that the people of Strathven have a plan as well.

Read more: Bec Kavanagh reviews 'Pig Boy' by J.C. Burke

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