At the moment, my hero is Rimbaud’s self in his Les Illuminations. Who knows who it will be tomorrow? And my heroine? Always Lo.
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Why do you write?
Writing interests me as nothing else does. It keeps me more or less sane until lunchtime.
Are you a vivid dreamer?
My dreams desert me at first light, and I struggle to recall them. A trivial event during the day may bring them back. They are obedient to rules I don’t understand.
Where are you happiest?
Happiness, as inspiration, refuses to be coerced and is always a welcome surprise wherever I am.
‘If you are afraid of half a dozen speeches,’ cries Mr Rushworth, as the rehearsals for Lovers’ Vows at Mansfield Park are getting underway, ‘what would you do with such a part as mine? I have forty-two to learn.’ Did the editors of the new Blackwell Companion to Jane Austen intend to evoke Mr Rushworth’s self-admiration or his barely disguised anxiety when they commissioned the forty-two essays of this plump, large-format book? The 1997 Cambridge Companionto Jane Austen, by comparison, seems exiguous: thirteen essays of about 7,000 words, edited by two of the Blackwell contributors (Juliet McMaster and Edward Copeland). An updated edition is due later this year, and indeed many of the Blackwell writers also appear in the Cambridge volume.
Book 1 Title: A Companion to Jane Austen
Book Author: Claudia L. Johnson and Clara Tuite
Book 1 Biblio: Wiley-Blackwell, $245 hb, 487 pp
Book 1 Author Type: Editor
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Book 2 Title: Jane’s Fame
Book 2 Subtitle: How Jane Austen conquered the world
Book 2 Author: Claire Harman
Book 2 Biblio: Text Publishing, $34.95 pb, 350 pp
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‘If you are afraid of half a dozen speeches,’ cries Mr Rushworth, as the rehearsals for Lovers’ Vows at Mansfield Park are getting underway, ‘what would you do with such a part as mine? I have forty-two to learn.’ Did the editors of the new Blackwell Companion to Jane Austen intend to evoke Mr Rushworth’s self-admiration or his barely disguised anxiety when they commissioned the forty-two essays of this plump, large-format book? The 1997 Cambridge Companionto Jane Austen, by comparison, seems exiguous: thirteen essays of about 7,000 words, edited by two of the Blackwell contributors (Juliet McMaster and Edward Copeland). An updated edition is due later this year, and indeed many of the Blackwell writers also appear in the Cambridge volume.
Do not be put off by this book’s bland title. In a country that has placed the Anzac Legend at the centre of its national identity, Australian Battalion Commanders in the Second World War is a profoundly subversive book. Cherished ideas of the Australian army as an egalitarian institution and of Australians as natural soldiers whose setbacks can always be blamed on the failings of others (generally the British or the Americans) are put to the test and found wanting. Those looking to have their strident assertions of Australian nationalism validated will be disappointed, but there are already plenty of other Australian military books that can satisfy them. Garth Pratten provides a portrait of Australians at war that is less heroic and more ambiguous, but ultimately more realistic because more human.
Book 1 Title: Australian Battalion Commanders in the Second World War
Book Author: Garth Pratten
Book 1 Biblio: Cambridge University Press, $59.95 hb, 435 pp
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Do not be put off by this book’s bland title. In a country that has placed the Anzac Legend at the centre of its national identity, Australian Battalion Commanders in the Second World War is a profoundly subversive book. Cherished ideas of the Australian army as an egalitarian institution and of Australians as natural soldiers whose setbacks can always be blamed on the failings of others (generally the British or the Americans) are put to the test and found wanting. Those looking to have their strident assertions of Australian nationalism validated will be disappointed, but there are already plenty of other Australian military books that can satisfy them. Garth Pratten provides a portrait of Australians at war that is less heroic and more ambiguous, but ultimately more realistic because more human.
In one of Kenneth Slessor’s surviving notebooks now held in the National Library, there is a curious entry consisting of approximately eighty names. This appears to be a list of those people the poet counted as friends over his lifetime; many of the names are marked in pencil with the forlorn abbreviation ‘d’. What might a literary historian make of such a list? It might be evidence of a romantic sensibility, a sign of Slessor’s faith in the commemorative powers of language, arguably the precondition for writing elegiac poetry. On the other hand, the list might be held up as proof of a bleak modernism, indicative of Slessor’s existential anxiety, the names being little more than fragments shored against the ruins of time. Of course, the question of whether a particular poet should be regarded as a romantic or a modernist depends entirely on what is meant by those loaded terms. This is one of the pitfalls of literary history: its basic terms of inquiry are often equivocal.
Book 1 Title: Australian Literature and the Symbolist Movement
Book Author: John Hawke
Book 1 Biblio: University of Wollongong Press, $36.95 pb, 176 pp
Book 1 Author Type: Author
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In one of Kenneth Slessor’s surviving notebooks now held in the National Library, there is a curious entry consisting of approximately eighty names. This appears to be a list of those people the poet counted as friends over his lifetime; many of the names are marked in pencil with the forlorn abbreviation ‘d’. What might a literary historian make of such a list? It might be evidence of a romantic sensibility, a sign of Slessor’s faith in the commemorative powers of language, arguably the precondition for writing elegiac poetry. On the other hand, the list might be held up as proof of a bleak modernism, indicative of Slessor’s existential anxiety, the names being little more than fragments shored against the ruins of time. Of course, the question of whether a particular poet should be regarded as a romantic or a modernist depends entirely on what is meant by those loaded terms. This is one of the pitfalls of literary history: its basic terms of inquiry are often equivocal.
Eighteen years ago, Gerald Murnane gave up writing fiction. At least, that is what the unnamed narrator of Barley Patch says happened to him in this new work of fiction, the first to be published by Murnane in fourteen years. It is tempting to think that this book might offer some kind of insight into what led to this hiatus in Murnane’s career. After all, if Murnane is Australia’s most innovative writer of fiction, as the book’s blurb tells us, this period of silence is an absence that should interest careful readers.
Book 1 Title: Barley Patch
Book Author: Gerald Murnane
Book 1 Biblio: Giramondo, $27.95 pb, 266 pp
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Eighteen years ago, Gerald Murnane gave up writing fiction. At least, that is what the unnamed narrator of Barley Patch says happened to him in this new work of fiction, the first to be published by Murnane in fourteen years. It is tempting to think that this book might offer some kind of insight into what led to this hiatus in Murnane’s career. After all, if Murnane is Australia’s most innovative writer of fiction, as the book’s blurb tells us, this period of silence is an absence that should interest careful readers.
Barley Patch, however, is just that, a work of fiction, according to its unnamed narrator. The reader frequently encounters sentences in it which ‘remind the reader that every sentence hereabouts is part of a work of fiction’. It also shares its themes with much of Murnane’s oeuvre: a preoccupation with landscape and a fascination with aesthetic experience, and the various epistemological questions associated with fiction and representation; some characters (or personages, as the narrator would have it), appear to recur, or are at the very least similar to those from earlier works such as Tamarisk Row (1974) or The Plains (1982); the narrator’s curiosity about sex as a child and as a young adult; and so on. In fact, the world of Barley Patch is unsettlingly familiar to any reader with some knowledge of Murnane’s work and life. I say ‘unsettling’ because it appears nearly congruent with much of what we think we know about Murnane from the books and from biographical details we have come across over the years, such as his reluctance to travel, his fascination with jockeys’ colours and horse racing, and the hoarding of all his writings.
The discipline of art history in Australia has passed through four stages. The foundations were laid in the 1940s with the arrival of three eminent émigrés. Ursula Hoff, schooled in the rigours and erudition of the Warburg Institute, came first. Franz Philipp, a Dunera survivor, well educated in the Viennese School, under Julius von Schlosser and others, came next. Then came Joseph Burke, first Herald Professor of Fine Arts at the University of Melbourne, and a product of the Courtauld Institute in London and the Anglophiliacs of Yale. Hoff would become the first trained art historian to work in a public Australian art gallery. Over the years, she made the Prints and Drawings Room at the National Gallery of Victoria a powerhouse of scholarship and connoisseurship. Burke and Philipp joined forces to create the Department of Fine Arts. Burke modestly proclaimed that ‘Franz was the architect and I was the builder’; I suspect that Philipp felt he was both.
Book 1 Title: Crossing Cultures
Book 1 Subtitle: Conflict, migration and convergence. The proceedings of the 32nd International Congress of the History of Art
Book Author: Jaynie Anderson
Book 1 Biblio: Miegunyah Press, $200 hb, 1126 pp
Book 1 Author Type: Editor
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The discipline of art history in Australia has passed through four stages. The foundations were laid in the 1940s with the arrival of three eminent émigrés. Ursula Hoff, schooled in the rigours and erudition of the Warburg Institute, came first. Franz Philipp, a Dunera survivor, well educated in the Viennese School, under Julius von Schlosser and others, came next. Then came Joseph Burke, first Herald Professor of Fine Arts at the University of Melbourne, and a product of the Courtauld Institute in London and the Anglophiliacs of Yale. Hoff would become the first trained art historian to work in a public Australian art gallery. Over the years, she made the Prints and Drawings Room at the National Gallery of Victoria a powerhouse of scholarship and connoisseurship. Burke and Philipp joined forces to create the Department of Fine Arts. Burke modestly proclaimed that ‘Franz was the architect and I was the builder’; I suspect that Philipp felt he was both.
Article Subtitle: A contemporary life of Marcus Clarke
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The slightly odd title of this volume – not Marcus Clarke, but Cyril Hopkins’ Marcus Clarke – is reminiscent of a spate of movies in the 1990s, including Bram Stoker’s Dracula and Mary Shelley’s Frankenstein. Those weren’t the authentic products, but this book does present Hopkins’s Clarke, in that much of the volume is made up of his childhood memories of the author of For the Term of His Natural Life (1874) and long extracts from Clarke’s letters to Hopkins.
Book 1 Title: Cyril Hopkins’ Marcus Clarke
Book Author: Laurie Hergenhan, Ken Stewart and Michael Wilding
Book 1 Biblio: Australian Scholarly Publishing, $39.95 pb, 386 pp
Book 1 Author Type: Editor
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The slightly odd title of this volume – not Marcus Clarke, but Cyril Hopkins’ Marcus Clarke – is reminiscent of a spate of movies in the 1990s, including Bram Stoker’s Dracula and Mary Shelley’s Frankenstein. Those weren’t the authentic products, but this book does present Hopkins’s Clarke, in that much of the volume is made up of his childhood memories of the author of For the Term of His Natural Life (1874) and long extracts from Clarke’s letters to Hopkins.
Those films relied on the authors’ fame, but no one remembers Cyril Hopkins (1846–1932). Cyril and his brother were both at school with Clarke, and the brother was famous, or became so as the poet Gerard Manley Hopkins. As the editors of Cyril Hopkins’ Marcus Clarke point out, Gerard Manley Hopkins and Marcus Clarke achieved most of their fame posthumously. Cyril never became celebrated, certainly not with this biography, which is published now for the first time. This doesn’t seem to have bothered him unduly. He worked on the biography for many years and tried, in a rather desultory way, to get it published. It appears to have been a labour of love, dedicated to a childhood friend whose imprint on him was enduring. Ultimately, Hopkins’s manuscript was sold, for £170, to the Mitchell Library, where it languished, apart from loving visits from Clarke scholars, until this resurrection by Australian Scholarly Publishing.
It is genuinely hard for countries like Australia, which have never regarded a powerful and alternative intelligentsia as particularly crucial, to appreciate either the role such an entity famously played in Russia or what a homegrown one might offer.
Book 1 Title: Zhivago’s Children
Book 1 Subtitle: The Last Russian intelligentsia
Book Author: Vladislav Zubok
Book 1 Biblio: Harvard University Press, $79.95 hb, 453 pp
Book 1 Author Type: Author
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It is genuinely hard for countries like Australia, which have never regarded a powerful and alternative intelligentsia as particularly crucial, to appreciate either the role such an entity famously played in Russia or what a homegrown one might offer.
In 1955 Boris Pasternak, son of a pianist mother and artist father, announced ‘the dearest and most important themes’ of his new novel Dr Zhivago: ‘land and sky, great passion, creative spirit, life and death.’ But in a country where harsh censorship quickly extinguished any spark of liberal thought, subterfuge was necessary. Pasternak typically used Zhivago’s love life to suggest, and veil, his critique of contemporary events: Yuri retains a nostalgic affection for Tonya, a daughter of the old régime and his first wife, but abandons her once he meets Lara, a free-spirited incarnation of revolutionary idealism. The failure of the Revolution is symbolised by Lara’s disappearance and the advent of Zhivago’s third wife, a dreary, downtrodden worker on the Soviet assembly line. The irony was that, although his message got through to the West, the novel remained unpublishable in Russia.
In an intriguing coincidence, three recent novels by notable male writers feature central characters who, former members of world-famous rock bands, ruminate on the mess they made of the past. The notion of faded rock stars clearly provides much scope for exploring issues of male ego, sexuality and mid-life crisis. Unlike Nick Hornby (Juliet Naked) and Nick Earls (The Story of Butterfish), Steven Lang is no ‘lad-lit’ writer, though he does delve into similar thematic territory in his second novel, 88 Lines About 44 Women.
Book 1 Title: 88 Lines About 44 Women
Book Author: Steven Lang
Book 1 Biblio: Viking, $32.95 pb, 258 pp
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In an intriguing coincidence, three recent novels by notable male writers feature central characters who, former members of world-famous rock bands, ruminate on the mess they made of the past. The notion of faded rock stars clearly provides much scope for exploring issues of male ego, sexuality and mid-life crisis. Unlike Nick Hornby (Juliet Naked) and Nick Earls (The Story of Butterfish), Steven Lang is no ‘lad-lit’ writer, though he does delve into similar thematic territory in his second novel, 88 Lines About 44 Women.
There is a timeless quality about some Australian authors that causes one to applaud when discerning publishers revive their work for new generations of readers. Wakefield Press’s reissue of Alan Moorehead’s The Villa Diana, first published in 1951, presents this fecund author’s book of essays, now subtitled ‘Travels in Post-war Italy’ ($24.95 pb, 224 pp, 9781862548459). It provides a neat introduction to Moorehead’s famous camera-like eye and his beguiling prose, which, as one commentator put it, offers ‘a long conversation that you wish would never end’.
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There is a timeless quality about some Australian authors that causes one to applaud when discerning publishers revive their work for new generations of readers. Wakefield Press’s reissue of Alan Moorehead’s The Villa Diana, first published in 1951, presents this fecund author’s book of essays, now subtitled ‘Travels in Post-war Italy’ ($24.95 pb, 224 pp, 9781862548459). It provides a neat introduction to Moorehead’s famous camera-like eye and his beguiling prose, which, as one commentator put it, offers ‘a long conversation that you wish would never end’.
Moorehead (1910–83) had already been anointed ‘the Prince of War Correspondents’ for his compelling reporting of World War II’s North African and European campaigns for The Daily Express, and was celebrated for his African Trilogy (1944) and Eclipse (1945), when he turned his back on journalism and the importunate Lord Beaverbrook, and moved in 1948 with his family to Tuscany. They lived in a rambling fifteenth-century villa outside Florence, near Fiesole. Here, the Australian expatriate, with his English polish, hoped to shape his dream of becoming a Renaissance man, or at least a ‘Mediterranean man’, refreshed by the arts and history of the high Renaissance.
Article Subtitle: A new edition of the inimitable Gwen Harwood
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The new English edition of a selection of Harwood’s poems comes with an excellent editorial pedigree. With his co-editorship of Gwen Harwood: Collected Poems 1943–1995 (2003) and his editorship of A Steady Storm of Correspondence: Selected Letters of Gwen Harwood 1943–1995 (2001), Gregory Kratzmann has established himself as the foremost of Harwood scholars. As a major critic of Australian poetry, Chris Wallace-Crabbe was an early champion of Harwood’s poetry, with a particular affinity, demonstrated in his own poetry, for the wit and wordplay that are distinguishing marks of Harwood’s work.
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The new English edition of a selection of Harwood’s poems comes with an excellent editorial pedigree. With his co-editorship of Gwen Harwood: Collected Poems 1943–1995 (2003) and his editorship of A Steady Storm of Correspondence: Selected Letters of Gwen Harwood 1943–1995 (2001), Gregory Kratzmann has established himself as the foremost of Harwood scholars. As a major critic of Australian poetry, Chris Wallace-Crabbe was an early champion of Harwood’s poetry, with a particular affinity, demonstrated in his own poetry, for the wit and wordplay that are distinguishing marks of Harwood’s work.
On Little Bourke Street it’s the bewitching hour of winter dusk’s last riffs playing long mauve shadows down the blocks, waking the neon calligraphy, its quavering script mirrored on the warm sheen of the Noodle King
where a man slaps and pummels the dough into a pliant wad. He takes a fist-sized ball and starts his noodle magic, stretching the bands, the sleight-of-hand plain for you to see, weaving a stave of floury silent music.
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On Little Bourke Street it’s the bewitching hour of winter dusk’s last riffs playing long mauve shadows down the blocks, waking the neon calligraphy, its quavering script mirrored on the warm sheen of the Noodle King
John Armstrong hails from Scotland and is currently philosopher in residence at the Melbourne Business School. He is well known for several popular but elegant works on, broadly speaking, aesthetic matters: among them, Conditions of Love (2002), The Secret Power of Beauty (2004) and Love, Life, Goethe (2006). His recent book is more ambitious than its predecessors, but remains essentially in their fold.
Book 1 Title: In Search of Civilization
Book 1 Subtitle: Remaking a tarnished idea
Book Author: John Armstrong
Book 1 Biblio: Allen Lane, $35 pb, 210 pp, 9781846140037
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John Armstrong hails from Scotland and is currently philosopher in residence at the Melbourne Business School. He is well known for several popular but elegant works on, broadly speaking, aesthetic matters: among them, Conditions of Love (2002), The Secret Power of Beauty (2004) and Love, Life, Goethe (2006). His recent book is more ambitious than its predecessors, but remains essentially in their fold.
Armstrong’s project in In Search of Civilization is to ‘get to the heart of civilization and uncover its secret meaning’. He is interested, not in exposing how other people have defined civilisation but in discovering how it should be defined. This requires philosophical investigation, for philosophy, Armstrong states – in a definition at once too narrow and too broad – ‘is the project of discovering and creating the ideas we need’.
Anyone who has found herself in a supermarket late on Thursday when a new checkout opens will have no trouble understanding why evolutionary biologists have struggled to explain the development of altruism in humans. In On Natural Selection, Darwin asserts: ‘In social animals [nature] will adapt the structure of each individual for the benefit of the community, if each in consequence profits by the selected change.’ Yet, practically, how could that adaptation first develop outside family groups? How could a lone altruist achieve anything but loss?
Book 1 Title: On The Origin of Stories
Book 1 Subtitle: Evolution, cognition, and fiction
Book Author: Brian Boyd
Book 1 Biblio: Harvard University Press (Inbooks), $69.95 hb, 540 pp, 9780674033573
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Anyone who has found herself in a supermarket late on Thursday when a new checkout opens will have no trouble understanding why evolutionary biologists have struggled to explain the development of altruism in humans. In On Natural Selection, Darwin asserts: ‘In social animals [nature] will adapt the structure of each individual for the benefit of the community, if each in consequence profits by the selected change.’ Yet, practically, how could that adaptation first develop outside family groups? How could a lone altruist achieve anything but loss?
It required game theory to calculate how cooperating with strangers could help survival. Classic game theory asks you to imagine yourself in solitary confinement in a Ruritanian prison, charged with plotting against the state. The state is holding another prisoner in a different cell. The state does not have enough evidence to convict either of you (for this to work, you have to recall a time before the ‘war on terror’, when lack of evidence might have constituted a problem for the state). If you both confess, you will both get ten years. If only you confess, she will get twenty years and you will go free, and vice versa. If neither of you confesses, you will both get out after just six months. Do you confess?
The wild White Nun, rarest and loveliest Of all her kind, takes form in the green shade Deep in the forest. Streams of filtered light Are tapped, distilled, and lavishly expressed As petals. Her sweet hunger is displayed By the labellum, set for bees in flight To land on. In her well, the viscin gleams: Mesmeric nectar, sticky stuff of dreams.
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The wild White Nun, rarest and loveliest Of all her kind, takes form in the green shade Deep in the forest. Streams of filtered light Are tapped, distilled, and lavishly expressed As petals. Her sweet hunger is displayed By the labellum, set for bees in flight To land on. In her well, the viscin gleams: Mesmeric nectar, sticky stuff of dreams.
Ostensibly, Roger’s World is an account of Charles Siebert’s whistle-stop tour of primate retirement homes in America. By the author’s reckoning, there are approximately two to three thousand chimpanzees in America, as well as a substantial number of their primate cousins. He travels across the country, visiting captive chimpanzees on an ‘impromptu farewell tour of our own kidnapped and caged primal selves’, until he encounters Roger, with whom he feels a profound connection.
Book 1 Title: Roger’s World
Book 1 Subtitle: Toward a new understanding of animals
Book Author: Charles Siebert
Book 1 Biblio: Scribe Publications, $29.95 pb, 224 pp, 9781921372865
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Ostensibly, Roger’s World is an account of Charles Siebert’s whistle-stop tour of primate retirement homes in America. By the author’s reckoning, there are approximately two to three thousand chimpanzees in America, as well as a substantial number of their primate cousins. He travels across the country, visiting captive chimpanzees on an ‘impromptu farewell tour of our own kidnapped and caged primal selves’, until he encounters Roger, with whom he feels a profound connection.
If one is inclined to accept the disturbing idea of retirement homes for chimpanzees as only possible in America, Siebert’s final night with Roger, at the Center for Great Apes in Wauchula, Florida, forces a reassessment of such easy presumptions. The hours of silence between man and ape lead to an exploration of the broader context of humanity’s relationship with animals. Siebert laments a wildlife ‘endgame’ in which he insists that hundreds of animals are damaged and diseased in the name of research, and entire species exposed to nervous distress due to human activities. This leads him to the discomfiting conclusion that if we ever figure out how to talk to the animals, there may be none (bar those we have already captured and irreparably damaged) left to answer.
One of the keenest childhood memories of David Meredith, narrator of George Johnston’s novel My Brother Jack (1964), is of the hall of his parents’ suburban home in Melbourne. It was full of prostheses, the artificial limbs of servicemen returned, maimed, from the Great War. The men are friends and former patients of Meredith’s parents. Her mother was a nurse, her father served in the First AIF. The scant historical regard that has been paid to these damaged men, and to their families, is rectified by Marina Larsson’s brilliant study of Shattered Anzacs. Her subject is the cohort of revenants who returned to Australia after the war – their bodies ruined, shell-shocked, infected with venereal disease and tuberculosis – and the families, institutions and government bureaucracies into whose hands they fell.
Book 1 Title: Shattered Anzacs
Book 1 Subtitle: Living with the scars of war
Book Author: Marina Larsson
Book 1 Biblio: University of New South Wales Press, $39.95 pb, 320 pp, 9781921410550
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One of the keenest childhood memories of David Meredith, narrator of George Johnston’s novel My Brother Jack (1964), is of the hall of his parents’ suburban home in Melbourne. It was full of prostheses, the artificial limbs of servicemen returned, maimed, from the Great War. The men are friends and former patients of Meredith’s parents. Her mother was a nurse, her father served in the First AIF. The scant historical regard that has been paid to these damaged men, and to their families, is rectified by Marina Larsson’s brilliant study of Shattered Anzacs. Her subject is the cohort of revenants who returned to Australia after the war – their bodies ruined, shell-shocked, infected with venereal disease and tuberculosis – and the families, institutions and government bureaucracies into whose hands they fell.
Larsson’s book complements Bart Ziino’s recent study, A Distant Grief: Australians, War Graves and the Great War (2007). Those graves, cemeteries and memorials became the focus of private grief and communal remembrance of the 60,000 Australian dead. Ziino notes especially ‘the great distance [that] separated grieving men and women from those they mourned’. In Shattered Anzacs, the story of the aftermath of the war is repatriated, along with scores of thousands of demobilised servicemen. One of the most telling observations in Larsson’s book concerns that figure of 60,000 dead, enshrined since Prime Minister Billy Hughes’s blustering at the Peace Conference in Versailles. Larsson shows how the real mortality rate of the Great War, the death toll directly if eventually consequent upon it, was much higher.
If beauty is in the eye of the beholder and taste is subjective, why is there often overwhelming agreement that a particular thing is beautiful? Are tastes shaped by brain structure, unconscious psychic drives, society or culture? For almost half a century, the idea of innate, universal and cross-cultural aesthetics has been hotly contested in art theory and cultural studies. Now Denis Dutton argues that our aesthetic responses are instinctual. He has timed his book well. Freud has fallen from favour, post-modernism is generally despised and Darwin studies are on the rise.
Book 1 Title: The Art Instinct
Book 1 Subtitle: Beauty, pleasure and human evolution
Book Author: Denis Dutton
Book 1 Biblio: Oxford University Press, $49.95 hb, 279 pp, 9780199539420
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If beauty is in the eye of the beholder and taste is subjective, why is there often overwhelming agreement that a particular thing is beautiful? Are tastes shaped by brain structure, unconscious psychic drives, society or culture? For almost half a century, the idea of innate, universal and cross-cultural aesthetics has been hotly contested in art theory and cultural studies. Now Denis Dutton argues that our aesthetic responses are instinctual. He has timed his book well. Freud has fallen from favour, post-modernism is generally despised and Darwin studies are on the rise.
The Bee Hut, Dorothy Porter’s fifteenth book, is a collection of poems written between 2004 and her death in December 2009. Many poems address mortality: ‘nothing lasts / not Forster. not Cavafy’s eloquent doomed mediocrities. not you.’ Another important motif is travel and how it affects the traveller. There are two almost contrary themes in the travel poems: the recurring image of the artist as vulture or vampire, destroying what feeds it; and the stately museum or gallery preserving the past intact: ‘I hold in my hand / the greedy, bleeding / pen / that has always / gorged itself’ (‘Blackberries’); ‘Each new ghost in my life / living and dead / smells of mulch’ (‘Vampire’).
Book 1 Title: The Bee Hut
Book Author: Dorothy Porter
Book 1 Biblio: Black Inc., $24.95 pb, 160 pp, 9781863954464
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The Bee Hut, Dorothy Porter’s fifteenth book, is a collection of poems written between 2004 and her death in December 2009. Many poems address mortality: ‘nothing lasts / not Forster. not Cavafy’s eloquent doomed mediocrities. not you.’ Another important motif is travel and how it affects the traveller. There are two almost contrary themes in the travel poems: the recurring image of the artist as vulture or vampire, destroying what feeds it; and the stately museum or gallery preserving the past intact: ‘I hold in my hand / the greedy, bleeding / pen / that has always / gorged itself’ (‘Blackberries’); ‘Each new ghost in my life / living and dead / smells of mulch’ (‘Vampire’).
Although Fourth Estate heralds this as Gary Crew’s first adult novel, readers who have followed his long career as a celebrated writer for young people will be aware that several of his Young Adult novels could be classified as ‘crossovers’. What defines them as such is the age and experience of their narrators: Kimmy of Angel’s Gate (1993) may be ten years old, but the story is told fifteen years later by an adult, Kim. Similarly, the teenage Sarah’s evidence indicts Mama Pratchett, but she relates the story of Mama’s Babies (1998) many years after the trial. Retrospective narration allows Crew to transcend the limitations of a youthful viewpoint and to look back upon events with mature wisdom, a technique he again employs in The Children’s Writer.
Book 1 Title: The Children’s Writer
Book Author: Gary Crew
Book 1 Biblio: Fourth Estate, $27.99 pb, 234 pp, 9780732285869
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Although Fourth Estate heralds this as Gary Crew’s first adult novel, readers who have followed his long career as a celebrated writer for young people will be aware that several of his Young Adult novels could be classified as ‘crossovers’. What defines them as such is the age and experience of their narrators: Kimmy of Angel’s Gate (1993) may be ten years old, but the story is told fifteen years later by an adult, Kim. Similarly, the teenage Sarah’s evidence indicts Mama Pratchett, but she relates the story of Mama’s Babies (1998) many years after the trial. Retrospective narration allows Crew to transcend the limitations of a youthful viewpoint and to look back upon events with mature wisdom, a technique he again employs in The Children’s Writer.
Article Subtitle: A posthumous novel from Jacob G. Rosenberg
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Jacob Rosenberg completed the manuscript of The Hollow Tree shortly before his death in October 2008. Born in Lodz in 1922, he lived there until he was deported to Auschwitz, where he lost his entire immediate family. He was later a prisoner in the Woflsburg and Ebensee concentration camps. In 1948 he and his wife, Esther, emigrated to Australia, where they raised a family and built a successful clothing business.
Book 1 Title: The Hollow Tree
Book Author: Jacob G. Rosenberg
Book 1 Biblio: Allen & Unwin, $26.99 hb, 256 pp, 9781741759006
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Jacob Rosenberg completed the manuscript of The Hollow Tree shortly before his death in October 2008. Born in Lodz in 1922, he lived there until he was deported to Auschwitz, where he lost his entire immediate family. He was later a prisoner in the Woflsburg and Ebensee concentration camps. In 1948 he and his wife, Esther, emigrated to Australia, where they raised a family and built a successful clothing business.
In a delightful memoir of a boyhood spent in Mussolini’s Italy, Umberto Eco recalled that the heady days of the Liberation in his small town near Milan were encapsulated in the taste of Wrigley’s Spearmint, given by an African-American GI (New York Review of Books, 22 June 1995). After the years of ‘palefaces in blackshirts’, these Americans appeared like exotic time travellers from the future. At the same time, the boy discovered that, unlike the long-winded Duce, large slabs of whose bombast schoolchildren were expected to commit to heart, the leader of the local partisans addressed the cheering crowd in the piazza with a few well-chosen and rhetoric-free words. Equally astonishing was the discovery that newspapers could carry opinions other than those mandated by the state.
Book 1 Title: The Oxford Handbook of Fascism
Book Author: R.J.B. Bosworth
Book 1 Biblio: Oxford University Press, $290 hb, 626 pp, 9780199291311
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In a delightful memoir of a boyhood spent in Mussolini’s Italy, Umberto Eco recalled that the heady days of the Liberation in his small town near Milan were encapsulated in the taste of Wrigley’s Spearmint, given by an African-American GI (New York Review of Books, 22 June 1995). After the years of ‘palefaces in blackshirts’, these Americans appeared like exotic time travellers from the future. At the same time, the boy discovered that, unlike the long-winded Duce, large slabs of whose bombast schoolchildren were expected to commit to heart, the leader of the local partisans addressed the cheering crowd in the piazza with a few well-chosen and rhetoric-free words. Equally astonishing was the discovery that newspapers could carry opinions other than those mandated by the state.
Brenda Niall has the knack of lucid multi-focus, a great thing in a biographer. That organisational deftness, an ability to keep the tangled loops of people’s lives spooling freely through her fingers while she projects a rich and dramatic context for them, was evident in her group study of The Boyds (2002), and it is the structural virtue in this new work, The Riddle of Father Hackett.
Book 1 Title: The Riddle of Father Hackett
Book 1 Subtitle: A life in Ireland and Australia
Book Author: Brenda Niall
Book 1 Biblio: National Library of Australia, $39.95 pb, 320 pp, 9780642276858
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Brenda Niall has the knack of lucid multi-focus, a great thing in a biographer. That organisational deftness, an ability to keep the tangled loops of people’s lives spooling freely through her fingers while she projects a rich and dramatic context for them, was evident in her group study of The Boyds (2002), and it is the structural virtue in this new work, The Riddle of Father Hackett.
William Hackett was Irish-born, a ‘Kilkenny Hackett’, son of a much- loved, blithely improvident and bookish doctor, and of a capable and intelligent mother whose necessary realism made her sometimes severe. William (‘Willie’) grew up surrounded by boisterous, articulate brothers and sisters, formidable in their talk and their independence of mind, but ever loyal. Willie needed that loving loyalty when, in 1895, as a gregarious seventeen-year-old, he chose to follow the austere life of a Jesuit priest.
Having disposed of World War I in a couple of brief chapters, our shell-shocked soldiers wonder what to do next. During the war, sinister balloons carrying out surveillance had hovered over the trenches. This now gives Axel Glover and Edward Llewellyn an idea. They have become mates in an understated English way, never making eye contact.
‘The first time I saw Axel Glover he was standing stark naked in a wide shaft of sunlight,’ begins the novel, which is written in the largely monologic voice of a diary or memoir. It records the lives of these two ‘very deep friends’ who, having survived the war together, commit to the somewhat eccentric adventure of ballooning to ‘New Albion’, in the Western Pacific of the imagination.
Book 1 Title: The Umbrella Club
Book Author: David Brooks
Book 1 Biblio: University of Queensland Press, $32.95 pb, 252 pp, 9780702237232
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Having disposed of World War I in a couple of brief chapters, our shell-shocked soldiers wonder what to do next. During the war, sinister balloons carrying out surveillance had hovered over the trenches. This now gives Axel Glover and Edward Llewellyn an idea. They have become mates in an understated English way, never making eye contact.
‘The first time I saw Axel Glover he was standing stark naked in a wide shaft of sunlight,’ begins the novel, which is written in the largely monologic voice of a diary or memoir. It records the lives of these two ‘very deep friends’ who, having survived the war together, commit to the somewhat eccentric adventure of ballooning to ‘New Albion’, in the Western Pacific of the imagination.
A few years ago, I heard Michael Cathcart speak on ‘the myth of the inland sea’. It was one of the funniest takes on Australian history I have heard. He related how his initially confident search for statements of belief in an inland sea by early Australian colonists petered out in the face of lack of evidence. Certainly, the explorer Charles Sturt believed in an inland sea and in his divine mission to discover it, but by 1845 he knew better. Finding little other evidence of the inland sea as the impetus for exploration, Cathcart decided it must be a creation of historians from Ernest Giles in 1889 to Derek Parker in 2007, with the idea recycled uncritically from book to book. Cathcart intended his research to be an academic thesis in history. How hard it must have been to be his academic supervisor. Each session must have ended in laughter and a mounting sense of desperation. How could an increasing lack of evidence be turned to good thesis account?
Book 1 Title: The Water Dreamers
Book 1 Subtitle: The remarkable history of our dry continent
Book Author: Michael Cathcart
Book 1 Biblio: Text Publishing, $34.95 pb, 327 pp, 9781921520648
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A few years ago, I heard Michael Cathcart speak on ‘the myth of the inland sea’. It was one of the funniest takes on Australian history I have heard. He related how his initially confident search for statements of belief in an inland sea by early Australian colonists petered out in the face of lack of evidence. Certainly, the explorer Charles Sturt believed in an inland sea and in his divine mission to discover it, but by 1845 he knew better. Finding little other evidence of the inland sea as the impetus for exploration, Cathcart decided it must be a creation of historians from Ernest Giles in 1889 to Derek Parker in 2007, with the idea recycled uncritically from book to book. Cathcart intended his research to be an academic thesis in history. How hard it must have been to be his academic supervisor. Each session must have ended in laughter and a mounting sense of desperation. How could an increasing lack of evidence be turned to good thesis account?
Peter Craven’s review of the Macquarie PEN Anthology of Australian Literature has generated much comment, some of it favourable, some not. Much of the latter was concentrated on the Internet, with the kind of reflexive, personality-driven, bien-pensant umbrage that often passes for literary discourse in the blogosphere. James Joyce’s phrase ‘the choir of the just’ springs to mind. What comes through is a shrill note of intolerance, the implication that because certain people disagree with other people’s views, the latter should not be aired. So much for liberal values.
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The Choir of the Just
Peter Craven’s review of the Macquarie PEN Anthology of Australian Literature has generated much comment, some of it favourable, some not. Much of the latter was concentrated on the Internet, with the kind of reflexive, personality-driven, bien-pensant umbrage that often passes for literary discourse in the blogosphere. James Joyce’s phrase ‘the choir of the just’ springs to mind. What comes through is a shrill note of intolerance, the implication that because certain people disagree with other people’s views, the latter should not be aired. So much for liberal values.
The design of this book is something of a mystery, not least because it presents as a critique of design, seeking to recuperate something that has been lost through ‘the graphic orthodoxies of cartography and architectural drawing’. This lost cultural component, the ‘dark writing’ of Carter’s title, is variously evoked as mythological, participatory, creative and recreative, as a body, a form of movement, a certain kind of substance.
Book 1 Title: Dark Writing
Book 1 Subtitle: Geography, performance, design
Book Author: Paul Carter
Book 1 Biblio: University of Hawaii Press, $64.95 pb, 328 pp, 9780824833121
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The design of this book is something of a mystery, not least because it presents as a critique of design, seeking to recuperate something that has been lost through ‘the graphic orthodoxies of cartography and architectural drawing’. This lost cultural component, the ‘dark writing’ of Carter’s title, is variously evoked as mythological, participatory, creative and recreative, as a body, a form of movement, a certain kind of substance.
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In eleven-year-old Grace’s world, the ‘saved’ number 11,423 people. Four of those are part of her immediate family; her twin brothers, her mother, and her father, who encourages his daughter’s inquisitive nature and who ‘probably has more interesting thoughts than any other home lighting warehouse manager in Australia’.
Book 1 Title: Grace
Book Author: Morris Gleitzman
Book 1 Biblio: Viking, $19.95 pb, 181 pp, 9780670073900
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In eleven-year-old Grace’s world, the ‘saved’ number 11,423 people. Four of those are part of her immediate family; her twin brothers, her mother, and her father, who encourages his daughter’s inquisitive nature and who ‘probably has more interesting thoughts than any other home lighting warehouse manager in Australia’.
This edition of Griffith Review is one of several local journals to take the ‘global financial crisis’ as its latest theme. A range of writers address this ‘crisis’ and other ‘major recessions’ throughout history. The journal opens with Julianne Schultz’s essay about how the global economy has worsened following the collapse of Lehman Brothers in September 2008. Other contributors investigate the impact of recession upon the media, consumer culture, the banking industry and the workplace. Examples are drawn from Australia, Britain, America, China and Dubai. Reference is made to Gordon Gekko, the anti-hero of Oliver Stone’s film Wall Street (1987). Gekko’s mantra, ‘Greed is good’, has come to define the 1980s, but viewers, as Schultz observes, tend to ignore the battle between ‘local enterprises’ and ‘clever schemers’ that is central to Stone’s movie. Schultz suggests that the schemers appear to have won.
Book 1 Title: Griffith Review 25
Book 1 Subtitle: After the crisis
Book Author: Julianne Schultz
Book 1 Biblio: Text Publishing, $24.95 pb, 268 pp, 9781921520761
Book 1 Author Type: Editor
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This edition of Griffith Review is one of several local journals to take the ‘global financial crisis’ as its latest theme. A range of writers address this ‘crisis’ and other ‘major recessions’ throughout history. The journal opens with Julianne Schultz’s essay about how the global economy has worsened following the collapse of Lehman Brothers in September 2008. Other contributors investigate the impact of recession upon the media, consumer culture, the banking industry and the workplace. Examples are drawn from Australia, Britain, America, China and Dubai. Reference is made to Gordon Gekko, the anti-hero of Oliver Stone’s film Wall Street (1987). Gekko’s mantra, ‘Greed is good’, has come to define the 1980s, but viewers, as Schultz observes, tend to ignore the battle between ‘local enterprises’ and ‘clever schemers’ that is central to Stone’s movie. Schultz suggests that the schemers appear to have won.
Hilda, a seventeen-year-old living in Los Angeles, is obsessed with dead celebrities. She and her friend Benji collect remnants from sites of tragedy or scandal – bricks, tiles, photographs of bloodstains – material suggestive of the enigmatic past. This ‘trivia’ deadens the things Hilda would rather not think about, including the death of her own parents. Hilda befriends an old man named Hank, who harbours his own dark secret and has met celebrities in his job as a Hollywood pool cleaner. Later in the story, a screenwriter named Jake feels like a conflict-creating device or distraction.
Book 1 Title: Hollywood Ending
Book Author: Kathy Charles
Book 1 Biblio: Text Publishing, $32.95 pb, 288 pp, 9781921520679
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Hilda, a seventeen-year-old living in Los Angeles, is obsessed with dead celebrities. She and her friend Benji collect remnants from sites of tragedy or scandal – bricks, tiles, photographs of bloodstains – material suggestive of the enigmatic past. This ‘trivia’ deadens the things Hilda would rather not think about, including the death of her own parents. Hilda befriends an old man named Hank, who harbours his own dark secret and has met celebrities in his job as a Hollywood pool cleaner. Later in the story, a screenwriter named Jake feels like a conflict-creating device or distraction.
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Gerald’s murdered great-aunt has left him her entire fortune of £20 billion, and an envelope full of clues. Instead of enjoying a trip to the snow in Australia, thirteen-year-old Gerald finds himself heading to London on a private jet with his parents to attend her funeral. Meanwhile, the world’s most valuable diamond has been stolen, rather comically, from the British Museum, and no one can figure out how. With the help of two new friends, Sam and Ruby, Gerald must solve this double whodunit.
Book 1 Title: The Billionaire’s Curse
Book Author: Richard Newsome
Book 1 Biblio: Text Publishing, $19.95 pb, 355 pp, 9781921520570
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Gerald’s murdered great-aunt has left him her entire fortune of £20 billion, and an envelope full of clues. Instead of enjoying a trip to the snow in Australia, thirteen-year-old Gerald finds himself heading to London on a private jet with his parents to attend her funeral. Meanwhile, the world’s most valuable diamond has been stolen, rather comically, from the British Museum, and no one can figure out how. With the help of two new friends, Sam and Ruby, Gerald must solve this double whodunit.
In responding to Peter Craven’s broad-brush review of the Macquarie PEN Anthology of Australian Literature in last month’s ABR, which I suppose you ran for the sake of controversy, let me touch on the wider debate about what’s in the book, and why.
In compiling such an anthology, where you obviously can’t have everything, a principle of metonymy comes into play, in which the one is asked to stand for the many. In the Macquarie PEN, this is a principle of inclusion, not exclusion. Where space permits no more, authors are indicated by association or citation, making the whole greater, we hope, than the sum of the parts, more open and many-layered, as anyone will discover who reads the essays and author introductions in the book. Thus Gerald Murnane’s fiction is implied by a superb piece of non-fiction, ‘Why I Write What I Write’, showing him at his best. The only other answer to why the editors did not choose this particular work is that they chose that one, after careful consideration not only of the work itself but of its interaction with other works in the collection. Nothing’s perfect, of course. If readers have suggestions or corrections, we’d be grateful to hear them. See the feedback link on the home page of the anthology website: www.macquariepenanthology.com.au.
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The many in one
Dear Editor,
In responding to Peter Craven’s broad-brush review of the Macquarie PEN Anthology of Australian Literature in last month’s ABR, which I suppose you ran for the sake of controversy, let me touch on the wider debate about what’s in the book, and why.
Like the man with a hammer to whom everything looks like a nail, Xavier Pons knows what he is looking for in his monograph on sex in Australian writing, and makes sure he finds it. Pons, a lecturer in Australian studies at the University of Toulouse, is clearly expert in his subject, and renders his explorations lucidly, at times with great insight, and intelligibly to non-specialist eyes.
Book 1 Title: Messengers of Eros
Book 1 Subtitle: Representations of sex in Australian writing
Like the man with a hammer to whom everything looks like a nail, Xavier Pons knows what he is looking for in his monograph on sex in Australian writing, and makes sure he finds it. Pons, a lecturer in Australian studies at the University of Toulouse, is clearly expert in his subject, and renders his explorations lucidly, at times with great insight, and intelligibly to non-specialist eyes.
This accessible new anthology collects the work of 125 women poets writing on the theme of motherhood. As well as having general appeal, it will introduce younger female readers of poetry to topics close to their own bodily, emotional futures.
Book 1 Title: Motherlode
Book 1 Subtitle: Australian Women’s Poetry 1986 – 2008
Book Author: Jennifer Harrison and Kate Waterhouse
This accessible new anthology collects the work of 125 women poets writing on the theme of motherhood. As well as having general appeal, it will introduce younger female readers of poetry to topics close to their own bodily, emotional futures.
One of the best things about the latest issue of Westerly is the cover, a detail from Helen Norton’s painting The shores of the excommunicated. Norton’s image is a wonderfully disquieting take on the modern Aussie beach. It inspires fresh ideas and imaginings, it unsettles, it punctures complacency, it provokes counter-reactions, but it also entertains – typifying what literary magazines should do.
Book 1 Title: Westerly Vol. 54, No. 1
Book Author: Delys Bird and Dennis Haskell
Book 1 Biblio: Westerly Centre, $29.95 pb, 204 pp, 9780980437133
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One of the best things about the latest issue of Westerly is the cover, a detail from Helen Norton’s painting The shores of the excommunicated. Norton’s image is a wonderfully disquieting take on the modern Aussie beach. It inspires fresh ideas and imaginings, it unsettles, it punctures complacency, it provokes counter-reactions, but it also entertains – typifying what literary magazines should do.
Every book implicitly asks its reader a question: What am I? Sometimes this is an easy question to answer, but at other times, as with Andrew McGahan’s new novel, one must reply, ‘I have no idea; I’ve never seen anything like you before.’
The setting of Wonders of a Godless World is an old hospital housing the mad. Somehow the old-fashioned notion of ‘madness’ suits this story; it’s the word McGahan uses most often to describe the patients, and there is more than a whiff about this isolated hospital of the medieval Narrenschiff – the Ship of Fools. The hospital is under a volcano on a tropical island with a harbour city. We are not told the names of any of these places, and, like everything and everyone else in this book, its heroine also has no name; rather, she is identified, as are all the other characters, by her defining characteristic, and is thus exclusively referred to as ‘the orphan’. Other key characters are identified by their roles in a mundanely realistic way: the police captain, the old doctor, the night nurse. Still others have labels more redolent of fairytale and myth: the duke, the witch, the archangel, the virgin. And then there is the mastermind and perhaps the villain of the piece: the foreigner. As far as archetypal characters and symbolic settings are concerned, this book contains an embarrassment of riches, and the fact that none of them is individually identified or named means that all kinds of significance can be projected onto them.
Book 1 Title: Wonders of a Godless World
Book Author: Andrew McGahan
Book 1 Biblio: Allen & Unwin, $32.99 pb, 336 pp, 9781741758092
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Every book implicitly asks its reader a question: What am I? Sometimes this is an easy question to answer, but at other times, as with Andrew McGahan’s new novel, one must reply, ‘I have no idea; I’ve never seen anything like you before.’
Learning about the world is one of the great fruits of reading. It can be as much fun as solving a puzzle, provided the information is presented to invite questioning and interpretation. These five attractively produced, accessible books are designed to appeal to their intended audiences, but how well do they avoid the over-simplification that is an inherent danger in tailoring ‘facts’ to the needs and interests of inexperienced readers?
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Learning about the world is one of the great fruits of reading. It can be as much fun as solving a puzzle, provided the information is presented to invite questioning and interpretation. These five attractively produced, accessible books are designed to appeal to their intended audiences, but how well do they avoid the over-simplification that is an inherent danger in tailoring ‘facts’ to the needs and interests of inexperienced readers?
What we might call ‘ordinary Australians’ produced a stream of novels about Asian countries in the 1970s and 1980s, but this is now a mere trickle. Some of the flow may have been dammed by the effect of market forces on publishers; some of it may have been diverted to Middle Eastern channels; some may have drained into the pools of Asia-enthusiasm that stagnated during the Howard years; and some may have dried up in the face of Asian diaspora fiction of the 1990s. Among the few Anglo-Saxon Australians who kept writing novels about Asia, several have turned to narratives set in a historical comfort zone, where they may still have a chance of competing with Asian Australians like Brian Castro, Teo Hsu-ming and Michelle de Kretser – although they too write of the past – or with Nam Le, Alice Pung and Aravind Adiga, who concentrate on the here and now.
Book 1 Title: Figurehead
Book Author: Patrick Allington
Book 1 Biblio: Black Inc., $29.95 pb, 239 pp, 9781863954365
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What we might call ‘ordinary Australians’ produced a stream of novels about Asian countries in the 1970s and 1980s, but this is now a mere trickle. Some of the flow may have been dammed by the effect of market forces on publishers; some of it may have been diverted to Middle Eastern channels; some may have drained into the pools of Asia-enthusiasm that stagnated during the Howard years; and some may have dried up in the face of Asian diaspora fiction of the 1990s. Among the few Anglo-Saxon Australians who kept writing novels about Asia, several have turned to narratives set in a historical comfort zone, where they may still have a chance of competing with Asian Australians like Brian Castro, Teo Hsu-ming and Michelle de Kretser – although they too write of the past – or with Nam Le, Alice Pung and Aravind Adiga, who concentrate on the here and now.
All living organisms are made of cells. Some, like bacteria, consist of just single cells; others, like humans, contain trillions of individual cells. The term ‘cell’ was first used in this context by the remarkable Robert Hooke in his beautifully illustrated masterpiece Micrographica: or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses with Observations and Inquiries Thereupon (1665). Hooke had been observing a thin slice of cork under his newly developed microscope. These cells were ‘[the] first microscopical pores I ever saw, and perhaps, that were ever seen, for I had not met with any Writer or Person, that had made any mention of them before this.’ He then showed why:
Book 1 Title: How We Live and Why We Die
Book 1 Subtitle: The secret lives of cells
Book Author: Lewis Wolpert
Book 1 Biblio: Faber and Faber, $39.99 hb, 240 pp, 9780571239115
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All living organisms are made of cells. Some, like bacteria, consist of just single cells; others, like humans, contain trillions of individual cells. The term ‘cell’ was first used in this context by the remarkable Robert Hooke in his beautifully illustrated masterpiece Micrographica: or some Physiological Descriptions of Minute Bodies made by Magnifying Glasses with Observations and Inquiries Thereupon (1665). Hooke had been observing a thin slice of cork under his newly developed microscope. These cells were ‘[the] first microscopical pores I ever saw, and perhaps, that were ever seen, for I had not met with any Writer or Person, that had made any mention of them before this.’ He then showed why:
there were usually about threescore of these small cells placed end-ways in the eighteenth part of an Inch in length, whence I concluded there must be neer eleven hundred of them, or somewhat more then [sic] a thousand in the length of an Inch, and therefore in a square Inch above a Million, or 1166400. and in a Cubick Inch, above twelve hundred Millions, or 1259712000. a thing almost incredible, did not our Microscope assure us of it by ocular demonstration.
Article Subtitle: Gems and liberties in a collective biography
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Evelyn Juers’s wide-ranging and suggestive study of Heinrich Mann (older brother of Thomas) and his second wife, Nelly Kroeger-Mann, opens with a vivid extended anecdote, recounting a meeting between the couple and Bertolt Brecht at a fruit market in Los Angeles, in the summer of 1944. Members of the community of European exiles in Los Angeles had flocked to the market because a farmer ‘was selling berries … Not just strawberries, blueberries … [but] also … gooseberries’. Jokingly translating the English word into Gaensebeeren (the actual German is Stachelbeeren), Brecht is caught handing out ‘a great mound of amber fruit’, giving Heinrich and Nelly ‘a translucent gem to taste’, and wittily punning ‘that he was no gooseberry fool’.
Book 1 Title: House Of Exile
Book 1 Subtitle: The Life and times of Heinrich Mann and Nelly Kroeger-Mann
Book Author: Evelyn Juers
Book 1 Biblio: Giramondo, $32.95 pb, 384 pp
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Evelyn Juers’s wide-ranging and suggestive study of Heinrich Mann (older brother of Thomas) and his second wife, Nelly Kroeger-Mann, opens with a vivid extended anecdote, recounting a meeting between the couple and Bertolt Brecht at a fruit market in Los Angeles, in the summer of 1944. Members of the community of European exiles in Los Angeles had flocked to the market because a farmer ‘was selling berries … Not just strawberries, blueberries … [but] also … gooseberries’. Jokingly translating the English word into Gaensebeeren (the actual German is Stachelbeeren), Brecht is caught handing out ‘a great mound of amber fruit’, giving Heinrich and Nelly ‘a translucent gem to taste’, and wittily punning ‘that he was no gooseberry fool’.
