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May 2022, no. 442

The May issue of ABR has arrived to keep you company while you wait in line for the next available voting booth. In our cover feature, Frank Bongiorno details how the professionalisation of politics has starved the public of leadership, while Faith Gordon makes the case for lowering the voting age. The issue casts a spotlight on secrets as difficult to face as they are to disinter – from Simon Tedeschi’s Calibre Prize-winning essay on the burden of his grandmother’s memory, to Elizabeth Tynan’s account of the atomic tests in Emu Field, to David Hill’s story of institutionalised abuse at Fairbridge Farm School. Philip Mead assesses Judith Wright’s legacy in prose, while Beejay Silcox wonders if Helen Garner has found the right rhapsodist. There’s new poetry by Michael Hofmann, Theodore Ell, and Katherine Brabon, and reviews of new fiction by Jennifer Egan, Omar Sakr, and Benjamin Stevenson. From busting crooks (political or porcine) to Buster Keaton, there’s plenty to get you through this electoral season!

Peter McPhee reviews The Pursuit of Europe: A history by Anthony Pagden
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Histories of the origins of the idea of ‘Europe’ have probed the legacies of the Roman Empire, the concept of western Christendom, and the power of the ‘republic of letters’ in the dissemination of ‘Enlightenment’ ideas, culminating in the cosmopolitanism of the early years of the French Revolution. Anthony Pagden is well aware of this heritage but has decided to begin his own study with Napoleon. It seems a strange choice, since the emperor’s European dream was always of a French imperium, whatever the toll in lives; but it does serve to highlight the later triumph of the European Union in securing continental peace.

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Book 1 Title: The Pursuit of Europe
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Book 1 Biblio: Oxford University Press, £25 hb, 429 pp
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Histories of the origins of the idea of ‘Europe’ have probed the legacies of the Roman Empire, the concept of western Christendom, and the power of the ‘republic of letters’ in the dissemination of ‘Enlightenment’ ideas, culminating in the cosmopolitanism of the early years of the French Revolution. Anthony Pagden is well aware of this heritage but has decided to begin his own study with Napoleon. It seems a strange choice, since the emperor’s European dream was always of a French imperium, whatever the toll in lives; but it does serve to highlight the later triumph of the European Union in securing continental peace. The Napoleonic wars of 1799–1815 cost at least four million lives, World War I twenty million, and World War II eighteen million in Europe alone. After 1799, France was invaded by Prussian or German armies five times: in 1813, 1815, 1870–71, 1914–18, and 1940–44. Somehow, a Franco-German entente after 1945 and incremental expansion of EU membership have since created a supranational structure, now of twenty-seven members, and a continent largely free of international warfare for nearly eighty years.

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Sophie Riley reviews Guilty Pigs: The weird and wonderful history of animal law by Katy Barnett and Jeremy Gans
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The title of this book, Guilty Pigs, is a reference to the medieval practice of bringing animals and insects to trial and/or punishing them for their conduct, such as killing humans, or destroying orchards, crops, and vineyards, or, in one case, chewing the records of ecclesiastical proceedings. The behaviour of the animal or insect determined whether proceedings were brought in secular or ecclesiastical jurisdictions. A charge of homicide would be initiated in secular tribunals, where domesticated animals such as pigs, cows, and horses were tried and punished, invariably by pronouncement of the death penalty. When animals and insects such as rats, mice, locusts, and weevils invaded houses, fields, or orchards, proceedings were brought in ecclesiastical courts, which eschewed the death penalty, instead excommunicating the hapless defendant.

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Article Hero Image Caption: Trial of a sow and pigs at Lavegny in 1457 from <em>The Book of Days</em> (1869) by Robert Chambers (Wikimedia Commons)
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Book 1 Title: Guilty Pigs
Book 1 Subtitle: The weird and wonderful history of animal law
Book Author: Katy Barnett and Jeremy Gans
Book 1 Biblio: La Trobe University Press, $34.99 pb, 355 pp
Book 1 Readings Link: booktopia.kh4ffx.net/x9v9od
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The title of this book, Guilty Pigs, is a reference to the medieval practice of bringing animals and insects to trial and/or punishing them for their conduct, such as killing humans, or destroying orchards, crops, and vineyards, or, in one case, chewing the records of ecclesiastical proceedings. The behaviour of the animal or insect determined whether proceedings were brought in secular or ecclesiastical jurisdictions. A charge of homicide would be initiated in secular tribunals, where domesticated animals such as pigs, cows, and horses were tried and punished, invariably by pronouncement of the death penalty. When animals and insects such as rats, mice, locusts, and weevils invaded houses, fields, or orchards, proceedings were brought in ecclesiastical courts, which eschewed the death penalty, instead excommunicating the hapless defendant.

Read more: Sophie Riley reviews 'Guilty Pigs: The weird and wonderful history of animal law' by Katy Barnett...

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Paradise, a poem by Michael Hofmann
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The joy of rhizomes. / Four makes of bamboo / volunteering everywhere, / a kind of supergrass. / ‘Hello, it’s me.’

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The joy of rhizomes.
Four makes of bamboo
volunteering everywhere,
a kind of supergrass.
‘Hello, it’s me.’
A snitch as tall as a tree.
Whenever I pass that way,
I have at them with the hatchet.
Two minutes of violent exercise.
They are the isolate stiff hairs
on my Eczema Reversion Lawn@

where the weeds have cross-wired
the surface and depth-charged the roots
with their little water-barrel reservoirs.
It’s my baby jungle out there.
Florida, venereal soil, sure,
but my conscript garden doesn’t grow.
Nothing blooms like the unintended
christophine and papayas
the birds left there.
Ghost-green luminous dongs,
sappy salt and sappy sweet.

She’s free to marry her baby grand –
correction, marry her bodyguard – 
she’s free to marry her bodyguard.
‘Is that you, Bodo/Beau/Bö? Come on in.’
The pubble that never bops.
Said of China, or was it Abba. Or Tesla.
The astronauts splash down
in poopy diapers at Pensacola.
Pensacola means the end of thought.
Or is it a refreshing drink.
More Big Orange than Big Pink.

It was FILTH (Failed In London, Try Hong Kong).
Now it’s SHIT (Succeeded in Hong Kong,
Immigrate to Toronto). Oh, far eastern
markets ending mixed, if they end at all.
The three-thirty at Market Rasen.
Better than falling out of bed.
Much less dead cat bouncing.
Spooking and catching cold.
Or catching a falling knife.
(Did those sages never think
they were wasted on numbers?)

They used to make me jump,
but lizards no longer bug me,
I understand them drawn to hot metal
A little one among the CDs,
(‘Greetings, pop pickers,’
said one Alan ‘Fluff’ Freeman 50 –
five-oh – years ago,) and indeed
I have a wizened one on the radio now,
that’s mostly pleather. Why move it.
It’s inoffensive. Characterful.

As are the roaches, but them
when I see I snap into action,
clobber them with shoe soles
or spray Friend Samsa on them,
German or Australian,
bigger with each passing year
black or brown, and some now
appear to have gold stitching
in keeping with the times.
Invasive, of course, but aren’t we all,
as the Bish didn’t say.

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ABR News - May 2022
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The ABR Elizabeth Jolley Short Story Prize is still open, with a closing date of 2 May. Once again, because of the generosity of ABR Patron Ian Dickson, we are able to offer total prize money of $12,500, of which the winner will receive $6,000 (there are two other cash prizes). The judges on this occasion are Amy Baillieu, Melinda Harvey, and John Kinsella.

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Honouring the past

Twenty years ago (when he was only twenty-one), a portrait of the distinguished classical musician Simon Tedeschi – Cherry Hood’s Simon Tedeschi unplugged – won the Archibald Prize. Now – unplugged essayistically, as it were – Tedeschi has added to his cabinet of national and international prizes in music by winning the sixteenth Calibre Essay Prize, one of the world’s leading competitions for an original essay. His entry, ‘This Woman My Grandmother’, stood out in a particularly strong field notable for its studies of loss, upheaval, deracination, and memory.

Tedeschi’s maternal grandmother, Lucy Gershwin, a Polish Jew, was the only survivor of a family obliterated by the Nazis. Before her death sixteen years ago, she wrote a memory of her wartime years. Tedeschi told Advances: ‘Only recently was I able to bring myself to read it. When I did, it caused not only a torrent of memory to erupt but spurred me to find out more about this tormented woman who, despite her vociferousness and overbearing presence, was the bearer of secrets too painful to divulge.’

Simon Tedeschi commenced piano studies when he was six and gave his first concerto performance at the age of eight, at the Sydney Opera House. He has performed with all the major Australian state orchestras, as well as many overseas, and he has released a number of recordings through Sony and ABC Classics. His were the hands of the young David Helfgott in the 1995 Oscar-winning film Shine.

Simon Tedeschi (photograph by Cole Bennetts)Simon Tedeschi (photograph by Cole Bennetts)

This month, coincidentally, our winner will publish his first book, Fugitive (Upswell), a poetic work that meditates on history, trauma, philosophy, memory, and art.

The Calibre judges – Declan Fry, Beejay Silcox, and Peter Rose, Editor of ABR – chose ‘This Woman My Grandmother’ from a field of 569 entries from seventeen different countries. Here are their comments: ‘This year’s winning essay has a powerful, memorable duality: it’s at once forceful and gentle, timeless and timely. While Tedeschi plays with eternal themes – the fragility of memory and intergenerational anguish – there is also a quiet urgency to his account of his grandmother, Lucy’s, complicated legacy. We stand on the cusp of a great forgetting: the Holocaust is fading from living memory, and Covid is ravaging our elderly. As we lose our story-keepers and war rages in Europe, it feels vital not just to honour the past, but to acknowledge its knots and nuances. That is what Tedeschi has done in this remarkable essay, with grace, care, and glorious prose craft.’ 

On learning of his win, Simon Tedeschi commented: ‘When Peter Rose rang to tell me that I’d won this year’s Calibre Prize, I felt a tornado of emotions: joy that my hard work had been recognised, gratitude to my wife for being my locus of love and inspiration, sadness that my grandmother was no longer here, disbelief that the memories this tormented woman gave me and of which I am constituted could now be shared with others, and finally, encouragement for the act of writing – an artform that, as with music, one never truly masters but which is the closest thing possible to healing
the past.’

Placed second in the competition was Sarah Gory’s essay ‘Ghosts, Ghosts Everywhere’, an exploration of the permeability of time, of the way the past haunts and shapes both the present and the future. It asks questions about the ethics of communal memory and collective responsibility, and what happens when the two meet. It is about family and death, layering the everyday into larger landscapes and queries. Complementing Simon Tedeschi’s essay, it is also a tribute to Sarah Gory’s grandfather.

‘Ghosts, Ghosts Everywhere’ will appear in a later issue, along with some of the ten other shortlisted essays, which are listed below:

Linda Atkins: ‘Shouting Abortion’
Jessie Berry-Porter: ‘Milos As a Symbol’
Chrysanthi Diasinos: ‘Οι παρχαρομάνες και το χρυσόραμμα’
Michael Garbutt: ‘The Museum of Mankind’
Savannah Hollis: ‘The Diary of a Bottom Bitch’
Heather Taylor Johnson: ‘The Giving and Taking Away of Voice’
Michaela Keeble: ‘The Bind: On Reading’
Emma Shortis: ‘American Guns’
Kirsten Tranter: ‘The Time of Writing’
Miriam Webster: ‘The Trouble with Endings’

We warmly thank ABR Patrons Peter McLennan and Mary-Ruth Sindrey for supporting the Prize.

ABR looks forward to presenting Calibre for a seventeenth time in 2023.

 

Last Call for the Jolley Prize

The ABR Elizabeth Jolley Short Story Prize – one of the world’s most lucrative competitions for an unpublished short story – closes soon on 2 May. Late starters had better get cracking lest the person from Porlock come knocking over these last few days.

Due to the continuing generosity of ABR Patron Ian Dickson, we are able to offer total prize money of $12,500, of which the winner will receive $6,000 (there are two other cash prizes). The judges this year are Amy Baillieu, Melinda Harvey, and John Kinsella. Aspirants can read all the previous winning and shortlisted stories on our website.

One of the prize’s alumnae, Catherine Chidgey, whose short story ‘The Man I Should Have Married’ was commended in the 2017 Jolley, has been shortlisted for the 2022 Dublin Literary Award, worth €100,000 (A$147,400), for her novel Remote Sympathy – another sign of the Jolley’s prophetic powers.

Hearty congratulations to Catherine Chidgey!

 

Translate this!

The Australian Association for Literary Translation, with PEN International Melbourne, has opened for submissions to its 2022 translation awards. This year, the focus is on Arabic to English translation, with sources texts by Palestinian author Ghassan Kanafani (in the prose category) and Moroccan novelist and poet Soukaina Habiballah (poetry). There is no entry fee, though all entrants are required to become members of AALITRA. The winners, to be announced at a ceremony later this year, will receive a cash prize, a book prize, and one year’s membership of AALITRA. Honourable Mentions will also be made for the two categories. Each of the prize-winning entries will be published on the AALITRA website and in AALITRA’s journal, The AALITRA Review, along with the translator’s comments.

For more information, please visit AALITRA’s website (aalitra.org.au). Bil tawfiq!

 

Melbourne Jewish Book Week

The festival returns in 2022 with events from 28 May to 31 May. Several ABR contributors will be taking part, including Tali Lavi, Gideon Haigh, Andrea Goldsmith (whose review of Margaret Atwood’s new essay collection appears on page 24), and our 2022 Calibre Essay Prize winner, Simon Tedeschi, who will speak at the Opening Night Gala event at Memo Hall on 28 May.  Next day he will appear on a panel event called ‘Memory, Music, Poetry and Prose’ along with New Zealand poet Bryan Walpert and ABC RN radio presenter Sarah Kanowski.

More information and tickets are available from melbournejewishbookweek.com.au.   


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Kim Mahood reviews Telling Tennant’s Story: The strange career of the great Australian silence by Dean Ashenden
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In Telling Tennant’s Story, Dean Ashenden gives a lucid, succinct, eminently readable account of the reasons why Australia as a nation continues to struggle with how to acknowledge and move beyond its past. Travelling north to visit Tennant Creek for the first time since leaving it as a boy in 1955, Ashenden is provoked to question the absence of shared histories on the monuments and tourist information boards along the route. Mostly, the signs record pioneer history, from which the Indigenous people are absent. When the Indigenous story is invoked, it records traditional practices and does not mention white people. ‘How did they get from then to now?’ he muses. ‘Just don’t mention the war.’

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Book 1 Subtitle: The strange career of the great Australian silence
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Book 1 Biblio: Black Inc., $34.99 pb, 352 pp
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In Telling Tennant’s Story, Dean Ashenden gives a lucid, succinct, eminently readable account of the reasons why Australia as a nation continues to struggle with how to acknowledge and move beyond its past. Travelling north to visit Tennant Creek for the first time since leaving it as a boy in 1955, Ashenden is provoked to question the absence of shared histories on the monuments and tourist information boards along the route. Mostly, the signs record pioneer history, from which the Indigenous people are absent. When the Indigenous story is invoked, it records traditional practices and does not mention white people. ‘How did they get from then to now?’ he muses. ‘Just don’t mention the war.’

Read more: Kim Mahood reviews 'Telling Tennant’s Story: The strange career of the great Australian silence'...

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Benjamin Huf reviews Australia’s Great Depression: How a nation shattered by the Great War survived the worst economic crisis it has ever faced by Joan Beaumont
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In 2007, on the seventy-fifth anniversary of the Great Ocean Road, a bronze statue was unveiled at Eastern View, near Torquay. The statue, titled ‘The Diggers’, depicts two pick-wielding mates, one handing the other a drink. In name and form, the statue memorialises both the World War I Anzacs the road was built to honour and the repatriated soldiers who began constructing it in 1919. But the statue tells only half the story. As the anniversary date indicates, the Great Ocean Road was completed in 1932, at the height of the Great Depression. It provided work not only for returned servicemen, but also for thousands of unemployed a decade later. Many probably worked under both circumstances.

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Article Hero Image Caption: Gangs of men on relief work during the depression, 1930s (Sam Hood/State Library of New South Wales)
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Book 1 Title: Australia’s Great Depression
Book 1 Subtitle: How a nation shattered by the Great War survived the worst economic crisis it has ever faced
Book Author: Joan Beaumont
Book 1 Biblio: Allen & Unwin, $49.99 hb, 574 pp
Book 1 Readings Link: booktopia.kh4ffx.net/ORZRLz
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In 2007, on the seventy-fifth anniversary of the Great Ocean Road, a bronze statue was unveiled at Eastern View, near Torquay. The statue, titled ‘The Diggers’, depicts two pick-wielding mates, one handing the other a drink. In name and form, the statue memorialises both the World War I Anzacs the road was built to honour and the repatriated soldiers who began constructing it in 1919. But the statue tells only half the story. As the anniversary date indicates, the Great Ocean Road was completed in 1932, at the height of the Great Depression. It provided work not only for returned servicemen, but also for thousands of unemployed a decade later. Many probably worked under both circumstances.

Read more: Benjamin Huf reviews 'Australia’s Great Depression: How a nation shattered by the Great War...

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Penny Russell reviews An Uncommon Hangman: The life and deaths of Robert Nosey Bob Howard by Rachel Franks
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When the offer came to review this book, I accepted enthusiastically, and unthinkingly added, ‘That sounds fun!’. Upon reflection, I deleted that last sentence: what would it say about me, I wondered, that I should expect the account of a hangman and his work to be entertaining? I thought better of the sentence, but the anticipation remained.

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Article Hero Image Caption: An illustration of Robert "Nosey Bob" Howard in <em>The Bulletin</em>, 31 January 1880, p4 (National Library of Australia/Trove)
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Book 1 Title: An Uncommon Hangman
Book 1 Subtitle: The life and deaths of Robert "Nosey Bob" Howard
Book Author: Rachel Franks
Book 1 Biblio: NewSouth, $34.99 pb, 417 pp
Book 1 Readings Link: booktopia.kh4ffx.net/MXVXY3
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When the offer came to review this book, I accepted enthusiastically, and unthinkingly added, ‘That sounds fun!’. Upon reflection, I deleted that last sentence: what would it say about me, I wondered, that I should expect the account of a hangman and his work to be entertaining? I thought better of the sentence, but the anticipation remained.

Read more: Penny Russell reviews 'An Uncommon Hangman: The life and deaths of Robert "Nosey Bob" Howard' by...

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Michael Winkler reviews The Secret of Emu Field: Britain’s forgotten atomic tests in Australia by Elizabeth Tynan
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In 1953, the British government conducted the Totem nuclear weaponry tests at Emu Field in South Australia. It was an inhospitable environment for non-Indigenous visitors. One London-based administrator called for the Australian military to remove all flies from the site. These tests earned part of a chapter in Elizabeth Tynan’s award-winning Atomic Thunder: The Maralinga story (reviewed by Danielle Clode in the March 2017 issue of ABR). Now Tynan has expanded the Totem story into a book that purports to uncover the secrets of what happened there and why.

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Book 1 Subtitle: Britain’s forgotten atomic tests in Australia
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Book 1 Biblio: NewSouth, $34.99 pb, 360 pp
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In 1953, the British government conducted the Totem nuclear weaponry tests at Emu Field in South Australia. It was an inhospitable environment for non-Indigenous visitors. One London-based administrator called for the Australian military to remove all flies from the site. These tests earned part of a chapter in Elizabeth Tynan’s award-winning Atomic Thunder: The Maralinga story (reviewed by Danielle Clode in the March 2017 issue of ABR). Now Tynan has expanded the Totem story into a book that purports to uncover the secrets of what happened there and why.

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Philip Mead reviews Judith Wright: Selected writings edited by Georgina Arnott
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Georgina Arnott’s 2016 biography The Unknown Judith Wright was an absorbing exercise in discovering the facets of Judith Wright’s early life and formative experience that were unknown, hidden, or forgotten, by biographers as well as by Wright herself. It was a revealing study of a writer who had a love-fear relationship with the projects of biography and autobiography. In the 1950s, Wright wrote loving, admiring histories of her pioneering family, but in her autobiography, Half a Lifetime, published in 1999, the year before her death, she began: ‘Autobiography is not what I want to write.’ There were good reasons for this. There were the formal challenges of life writing – the person writing is not the person written about – but also what Wright had discovered, in her archival research for her rewriting of her family history, about her Wyndham colonial ancestors’ role in Aboriginal dispossession, and violence.

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Book 1 Title: Judith Wright
Book 1 Subtitle: Selected writings
Book Author: Georgina Arnott
Book 1 Biblio: La Trobe University Press, $34.99 pb, 336 pp
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Georgina Arnott’s 2016 biography The Unknown Judith Wright was an absorbing exercise in discovering the facets of Judith Wright’s early life and formative experience that were unknown, hidden, or forgotten, by biographers as well as by Wright herself. It was a revealing study of a writer who had a love-fear relationship with the projects of biography and autobiography. In the 1950s, Wright wrote loving, admiring histories of her pioneering family, but in her autobiography, Half a Lifetime, published in 1999, the year before her death, she began: ‘Autobiography is not what I want to write.’ There were good reasons for this. There were the formal challenges of life writing – the person writing is not the person written about – but also what Wright had discovered, in her archival research for her rewriting of her family history, about her Wyndham colonial ancestors’ role in Aboriginal dispossession, and violence.

Read more: Philip Mead reviews 'Judith Wright: Selected writings' edited by Georgina Arnott

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Andrea Goldsmith reviews Burning Questions: Essays and occasional pieces, 2004–2021 by Margaret Atwood
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Earlier this year, while still much occupied with our works in progress, Drusilla Modjeska and I discussed what our next projects might be. We were both tempted to put together a collection of our shorter writings – essays, talks, reviews, articles – already written and just needing a touch up. ‘Money for nothing and your books for free,’ I said, echoing the old Dire Straits song – albeit in a much more acceptable form for these sensitive times. And that’s the gift with collected writings: little work is required to produce a book. But a gift for the writer can be a risky business for the reader. After all, one cannot hope that all the disparate pieces (sixty-two in Margaret Atwood’s latest collection) will be equally as compelling as one Handmaid’s Tale.

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Book 1 Title: Burning Questions
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Book Author: Margaret Atwood
Book 1 Biblio: Chatto & Windus, $42.95 hb, 495 pp
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Earlier this year, while still much occupied with our works in progress, Drusilla Modjeska and I discussed what our next projects might be. We were both tempted to put together a collection of our shorter writings – essays, talks, reviews, articles – already written and just needing a touch up. ‘Money for nothing and your books for free,’ I said, echoing the old Dire Straits song – albeit in a much more acceptable form for these sensitive times. And that’s the gift with collected writings: little work is required to produce a book. But a gift for the writer can be a risky business for the reader. After all, one cannot hope that all the disparate pieces (sixty-two in Margaret Atwood’s latest collection) will be equally as compelling as one Handmaid’s Tale.

Read more: Andrea Goldsmith reviews 'Burning Questions: Essays and occasional pieces, 2004–2021' by Margaret...

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Beejay Silcox reviews On Helen Garner: Writers on writers by Sean O’Beirne
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Article Subtitle: Recasting Helen Garner as an MFA craft seminar
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Oh, how I detest tiny books – those cutesy little hardbacks that are sold next to the novelty bookmarks and greeting cards. 101 Reasons Why Dogs/Cats Are Better Than Cats/Dogs; Inspo quotes for Insta feminists; The Pocket Marcus Aurelias (for the stoic on-the-go); The Pocket Tarot (for the soothsayer on-the-go); The Tao of Something. They are the literary equivalent of supermarket checkout chocolates – sugar-fix books. Stocking stuffers. Gag gifts. Op-shop cloggers. Toilet-floor lint collectors.

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Alt Tag (Featured Image): Beejay Silcox reviews 'On Helen Garner: Writers on writers' by Sean O’Beirne
Book 1 Title: On Helen Garner
Book 1 Subtitle: Writers on writers
Book Author: Sean O’Beirne
Book 1 Biblio: Black Inc., $17.99 hb, 138 pp
Book 1 Readings Link: booktopia.kh4ffx.net/NKJKv7
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Oh, how I detest tiny books – those cutesy little hardbacks that are sold next to the novelty bookmarks and greeting cards. 101 Reasons Why Dogs/Cats Are Better Than Cats/Dogs; Inspo quotes for Insta feminists; The Pocket Marcus Aurelias (for the stoic on-the-go); The Pocket Tarot (for the soothsayer on-the-go); The Tao of Something. They are the literary equivalent of supermarket checkout chocolates – sugar-fix books. Stocking stuffers. Gag gifts. Op-shop cloggers. Toilet-floor lint collectors.

Read more: Beejay Silcox reviews 'On Helen Garner: Writers on writers' by Sean O’Beirne

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Paul Giles reviews What is American Literature? by Ilan Stavans
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Article Title: Looking for ground zero
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Ilan Stavans is a professor of Humanities at Amherst College in Massachusetts, a native of Mexico City who is now a distinguished scholar of Latin American and Hispanic cultures. Here he turns his outsider’s gaze on the large question ‘What is American Literature?’ to productive if rather erratic effect. This is a strange book, one that purports to achieve an Olympian overview of an established academic field, but one whose most effective contributions manifest themselves in casual, digressive comments on particular authors and contemporary cultural issues.

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Book 1 Title: What is American Literature?
Book Author: Ilan Stavans
Book 1 Biblio: Oxford University Press, £19.99 hb, 209 pp
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Ilan Stavans is a professor of Humanities at Amherst College in Massachusetts, a native of Mexico City who is now a distinguished scholar of Latin American and Hispanic cultures. Here he turns his outsider’s gaze on the large question ‘What is American Literature?’ to productive if rather erratic effect. This is a strange book, one that purports to achieve an Olympian overview of an established academic field, but one whose most effective contributions manifest themselves in casual, digressive comments on particular authors and contemporary cultural issues.

Read more: Paul Giles reviews 'What is American Literature?' by Ilan Stavans

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James Bradley reviews The Candy House by Jennifer Egan
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Article Title: The Goon Squad returns
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Although Jennifer Egan had several novels under her belt by the end of the 2000s, perhaps most notably the slyly metafictional The Keep (2006), her 2010 novel, A Visit from the Goon Squad, took the concern with the inner workings of contemporary culture and consciousness that wound its way through those earlier books, and translated it into something startlingly new and resonant. A meditation on time, loss, and possibility filtered through music and the music industry, it was as striking for its formal playfulness as it was for its acuity and countercultural savvy. In the decade and a bit since Goon Squad, Egan has produced only one book, Manhattan Beach (2017), a historical novel set in the 1930s and 1940s. Despite its emotional richness and interest in the often-obscured wartime experiences of women and African-Americans, Manhattan Beach is an oddly subdued novel, its conventional surfaces at odds with the spiky energy that makes most of Egan’s fiction so exciting.

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Book 1 Title: The Candy House
Book Author: Jennifer Egan
Book 1 Biblio: Corsair, $32.99 pb, 334 pp
Book 1 Readings Link: booktopia.kh4ffx.net/oevevb
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Although Jennifer Egan had several novels under her belt by the end of the 2000s, perhaps most notably the slyly metafictional The Keep (2006), her 2010 novel, A Visit from the Goon Squad, took the concern with the inner workings of contemporary culture and consciousness that wound its way through those earlier books, and translated it into something startlingly new and resonant. A meditation on time, loss, and possibility filtered through music and the music industry, it was as striking for its formal playfulness as it was for its acuity and countercultural savvy. In the decade and a bit since Goon Squad, Egan has produced only one book, Manhattan Beach (2017), a historical novel set in the 1930s and 1940s. Despite its emotional richness and interest in the often-obscured wartime experiences of women and African-Americans, Manhattan Beach is an oddly subdued novel, its conventional surfaces at odds with the spiky energy that makes most of Egan’s fiction so exciting.

Read more: James Bradley reviews 'The Candy House' by Jennifer Egan

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Alex Cothren reviews The Good Captain by Sean Rabin
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Article Title: Warm broth
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Just when you thought there wasn’t enough to worry about, along come bottom trawlers. While the fishing technique of dragging a heavy net along the bottom of the seabed is     nothing new – indeed, there was a British commission inquiry into the practice as far back as 1866 – the sheer size of modern super trawlers maximises their destructiveness. Centuries-old sea coral forests are bulldozed by the thirty-tonne nets, non-targeted fish and turtles become indiscriminately tangled in the web, and the disturbed sediment releases more carbon than the entire aviation industry each year.

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Book 1 Title: The Good Captain
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Book 1 Biblio: Transit Lounge, $29.99 pb, 368 pp
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Just when you thought there wasn’t enough to worry about, along come bottom trawlers. While the fishing technique of dragging a heavy net along the bottom of the seabed is     nothing new – indeed, there was a British commission inquiry into the practice as far back as 1866 – the sheer size of modern super trawlers maximises their destructiveness. Centuries-old sea coral forests are bulldozed by the thirty-tonne nets, non-targeted fish and turtles become indiscriminately tangled in the web, and the disturbed sediment releases more carbon than the entire aviation industry each year.

Read more: Alex Cothren reviews 'The Good Captain' by Sean Rabin

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Francesca Sasnaitis reviews Everyone in My Family Has Killed Someone by Benjamin Stevenson
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Enid Blyton’s Secret Seven series (1949–63) was my induction into crime reading. I was smitten with the secret society of children who set out to solve mysteries and right wrongs despite adults’ disbelief and objections. As a teen, I graduated to Agatha Christie and Arthur Upfield (in the 1970s, we were still unaware how offensive his depiction of Detective Inspector Napoleon ‘Bony’ Bonaparte was to Aboriginal Australians). Later, came writers of the hard-boiled school – Raymond Chandler, Dashiell Hammett, Chester Himes – and others, like Georges Simenon and James Ellroy, who extended or subverted the conventions of the genre.

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Book 1 Title: Everyone in My Family Has Killed Someone
Book Author: Benjamin Stevenson
Book 1 Biblio: Michael Joseph, $32.99 pb, 371 pp
Book 1 Readings Link: booktopia.kh4ffx.net/KeGeGn
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Enid Blyton’s Secret Seven series (1949–63) was my induction into crime reading. I was smitten with the secret society of children who set out to solve mysteries and right wrongs despite adults’ disbelief and objections. As a teen, I graduated to Agatha Christie and Arthur Upfield (in the 1970s, we were still unaware how offensive his depiction of Detective Inspector Napoleon ‘Bony’ Bonaparte was to Aboriginal Australians). Later, came writers of the hard-boiled school – Raymond Chandler, Dashiell Hammett, Chester Himes – and others, like Georges Simenon and James Ellroy, who extended or subverted the conventions of the genre.

Read more: Francesca Sasnaitis reviews 'Everyone in My Family Has Killed Someone' by Benjamin Stevenson

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Jay Daniel Thompson reviews Son of Sin by Omar Sakr
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Article Title: Desire’s other face
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The first thing readers will notice about Son of Sin is the snake coiled across the front cover, its inky scales contrasting with the hot pink background, at once disquieting and strangely beautiful. This striking image sets the tone for the rest of the novel, which is the prose début for Sydney poet and social commentator Omar Sakr. The text provides a disarmingly frank perspective on sexuality, race, and shame in contemporary Australia.

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Book 1 Title: Son of Sin
Book Author: Omar Sakr
Book 1 Biblio: Affirm Press, $29.99 pb, 288 pp
Book 1 Readings Link: booktopia.kh4ffx.net/qnvnv5
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The first thing readers will notice about Son of Sin is the snake coiled across the front cover, its inky scales contrasting with the hot pink background, at once disquieting and strangely beautiful. This striking image sets the tone for the rest of the novel, which is the prose début for Sydney poet and social commentator Omar Sakr. The text provides a disarmingly frank perspective on sexuality, race, and shame in contemporary Australia.

The protagonist is Jamal, a bisexual Arab Muslim coming of age in Sydney’s western suburbs. He struggles to embrace his attraction to men in a religious and familial milieu where homosexuality is seen as ‘the ultimate taboo’ and where men are belittled for undertaking activities not traditionally regarded as masculine (such as reading). Jamal’s mother is homophobic and abusive; his mates are not shy about expressing anti-gay sentiments. Jamal routinely observes the use of violence to instil fear within, and exert control over others.

Throughout the novel, Jamal grows from an awkward teen to a twenty-something whose self-assuredness is slowly blossoming. He travels from New South Wales to Turkey and back: learning about his family’s history, having unexpected but not unwelcome sexual encounters, and striving ‘to resist definition, to be only what he wanted to be, when and as he pleased’. The identity labels that are placed on him by others are found to be simplistic and constrictive.

Which brings us back to that cover. The snake is a metaphor for the poisonous pressure of trying to live up to the expectations of others. Sakr writes: ‘Jamal was not good, not okay … There was a snake in his eyes and it was trying to kill him.’ The reptile might be a metaphor for homosexuality and the danger that the protagonist attributes to it – a danger that is simultaneously frightening and sexy. As Jamal himself notes: ‘What is dread if not desire’s other face?’ The phallic connotations of said creature are unmistakable.

Stylistically and thematically, Son of Sin has much in common with Christos Tsiolkas’s Loaded (1995). Both focus on the sons of migrants who are coming to terms with their masculinity and attraction to men in contexts where those attributes seem incompatible. The text also invites comparisons with Michael Mohammed Ahmad’s The Lebs (2018), which was set in Sydney’s west and which revolved around a Muslim young man growing up in the shadow of 9/11 and the Cronulla riots of 2005.

Also, like those novels, Sakr’s text avoids easy answers and cheap psychologising. There are no happy endings or neat resolutions in Jamal’s quest for contentment and comfort. He ‘wanted more from home than brick and mortar. He wanted to be safe in his own body.’ Jamal recognises, though, that safety may be impossible in a country where Middle Eastern men are routinely profiled by police (this happens to the protagonist moments after he returns from an overseas trip) and which has a long, bloody history of colonialism. The young man ponders wryly: ‘How many bodies were in the mud beneath this house?’

In terms of sexuality, there is no great ‘coming out’ moment; indeed, the doors to Jamal’s closet always seem to hover somewhere between open and shut. His bisexuality is received by loved ones with either revulsion or nonchalance – sometimes both, but never surprise. Jamal’s sexual encounters crackle with a visceral eroticism, as well as a sense of connection (physical, emotional) that is otherwise absent from the young man’s existence. All sex scenes run the risk of being cringe-worthy; Tsiolkas’s The Slap (2008) offers a memorable example of this. It is a testament to Sakr’s literary prowess that he avoids that cringe factor.

Son of Sin avoids moralising about or castigating its characters. Their flaws and shortcomings are the products of their lived experiences, which range from the difficult to the unbearable. Jamal’s acceptance of and empathy for his loved ones, even when they shower him with hostility, is poignant and credible.

At times, the text becomes too polemical. Witness Jamal’s observations about the toxicity of the 2017 same-sex marriage controversy, for example:

On the table in front of them was the postal vote for marriage equality. It was important to have the conversation, every bigot and every Tumblr teen seemed to agree. Important to bellow again each hateful word in retribution or reclamation, but to bellow it, in the hope that a body somewhere could use the sound to climb out of silence …

These observations are astute and written with elegance; they evoke the emotional pain that this vote caused many queer Australians. The comments are nonetheless more suited to an Op-Ed or a thread on Twitter (a platform upon which Sakr is active) than a work of literary fiction.

Similarly, the references to snakes and a ‘figure with a black teardrop for a head’ are more redolent of magical realism than the gritty realism the novel otherwise strives for. The teardrop creature appears to Jamal during a holiday and is genuinely unsettling; it’s unclear whether it is real or imagined. Alas, the creature’s purpose within the narrative is opaque (aside from being a rather obvious manifestation of the protagonist’s personal demons) and it vanishes as quickly as it appeared, never to be mentioned again.

Otherwise, Son of Sin is a welcome contribution to the burgeoning field of multicultural Australian queer writing. Sakr is a talented storyteller with a keen eye for character development. This reviewer hopes that more prose (as well as poetry) will emerge from his pen.

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Custom Article Title: New comic novels by Toni Jordan, Katherine Collette, and Kimberley Allsopp
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Article Title: Literary escapism
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oubtless there will come a time when one’s more disciplined reading self requires nourishment from serious books that offer sustained intellectual, creative, and moral challenges. In the meantime, books – in particular the contemporary urban novel – may continue to satisfy by being charming, delightful, witty, heart-warming, hilarious, astringently refreshing, sharply observed, and deliciously original.

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Doubtless there will come a time when one’s more disciplined reading self requires nourishment from serious books that offer sustained intellectual, creative, and moral challenges. In the meantime, books – in particular the contemporary urban novel – may continue to satisfy by being charming, delightful, witty, heart-warming, hilarious, astringently refreshing, sharply observed, and deliciously original.

That, of course, is a sample of front and back cover terms designed to spark interest in these three new comic novels. In less grim times, one might feel guilty just dipping into such books, let alone reading them to the end, but with the never-ending trail of natural and invented disasters, both global and local, escapism seems the most sensible recourse. Besides, one of these novels deploys a crossword puzzle as a central structural device – what’s not to love?

Read more: Debra Adelaide reviews 'Dinner with the Schnabels' by Toni Jordan, 'The Competition' by Katherine...

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Tenebrae, a poem by Theodore Ell
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Nightfall on the sill. Trinkets, hardened dust. Sky / in the gaps of a broken comb – the medley // of towers, antennae. The city: a queue / for dinner at a swish place, or a catwalk.

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Nightfall on the sill. Trinkets, hardened dust. Sky
in the gaps of a broken comb – the medley

of towers, antennae. The city: a queue
for dinner at a swish place, or a catwalk.

Thoughts of not doing an evening by halves –
not dress circles or crystal filled in series,

only forgetting the rule of doubt for hours,
leaving morning till morning, whole vacancies. 

This sill, monogrammed by wine rims. A living.
Rest from studying the pavement in silent lines,

from the cold communion, aid. Frail-voiced
nuns chant responses from behind gilt fences

through the workless days. They reach some in the street,
who look in, down a ribcage of coloured light,

high rafters, canopy – a keyhole vision
of dusk between towers, that toothed horizon,

a light that breaks our outline, hides our numbers.

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Judith Bishop reviews New and Selected Poems by J.S. Harry
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J.S. Harry and her lapin alter ego, Peter Henry Lepus, would assuredly have had ‘words to say’ about the war in Ukraine and its manufacture by a group of human beings. Peter, a Wittgensteinian, would have pondered hard the nature of the war ‘games’ that preceded use of arms: games in which each ‘move’ was a crafted piece of language and (dis)information, known as ‘intelligence’ or ‘diplomacy’, but where the ‘endgame’ and ‘stakes’ would involve the disposition of human flesh and blood. ‘The dead do not have a world ... / A human’s world is language: “logic” & “words”, Peter thinks’ (‘After the Fall of Baghdad’).

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Book 1 Title: New and Selected Poems
Book Author: J.S. Harry
Book 1 Biblio: Giramondo, $29.95 pb, 320 pp
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J.S. Harry and her lapin alter ego, Peter Henry Lepus, would assuredly have had ‘words to say’ about the war in Ukraine and its manufacture by a group of human beings. Peter, a Wittgensteinian, would have pondered hard the nature of the war ‘games’ that preceded use of arms: games in which each ‘move’ was a crafted piece of language and (dis)information, known as ‘intelligence’ or ‘diplomacy’, but where the ‘endgame’ and ‘stakes’ would involve the disposition of human flesh and blood. ‘The dead do not have a world ... / A human’s world is language: “logic” & “words”, Peter thinks’ (‘After the Fall of Baghdad’).

Between 1971 and 2013, Harry (1939–2015) published eight full-length collections, including a Selected Poems in 1995. During her infancy, the world was at war. This may have left its mark; as has often been remarked, violence and death are never far off in her poems. Harry’s poetry remains acutely ‘relevant’ – to use a word that Harry applied (with inverted commas) to describe how other animals selectively attend to their portion of the world. (Harry – and Peter – were rather fond of inverted commas as a punchy way of dislocating words from the placid stream of language, in order to ‘hold [them], for a little while, and turn [them] gently’, as recommended by the title of her second book. Far from being a postmodern reflex, their deployment was a careful act inviting close attention to meaning.)

J.S. Harry (photograph via Giramondo)J.S. Harry (photograph via Giramondo)

An excellent feature of this book is that it gives us large chunks of Harry’s first four collections. As Martin Duwell has noted, the poems in this volume complement the set collected by Giramondo in Not Finding Wittgenstein: Peter Henry Lepus Poems (2007), though the reader is left to discover this relationship on their own. A few late Peter poems are in the ‘new’ section of this New and Selected. A recap of the story ‘thus far’ would have been a helpful addition; I suspect the poems’ characters will baffle a reader coming fresh to this volume without having read the 2007 collection.

Harry was most strongly polyphonic in her early collections. Harry’s first collection, the deer under the skin (1971), shows at least three poets vying for their place on the page: an analytical-philosophical poet with a keen ear for prosody, an eye for typography and a taste for experiment; an ecological-lyrical poet, minutely attuned to the psychic and sensory lives of the human and animal creatures she observes, including herself; and a political-erotic poet who tears the skin off social convention and politesse with a violence and honesty that astound and discomfort.

Here is a glimpse of each poet, in that order:

                             [...] He knew that

            TO START WITH

  Everything is a large box – you can’t see into it,

to start with

              right around it in the middle       or much of it to end

                                                                                        with –

He didn’t want to put string and paper round it –

                  He liked Everything – he wanted to get into it – 

       (‘The little grenade’)

  You did not
touch my hand
in the new style
but
the snow
  melted on your eyes.

Those three hours sat as lightly
on our hearts
as the snow upon your sleeve.
       (‘waiting for the express, to go north to Ôsaka’)

We are almost as the apple-mouthed pigs
served in hotels on platters at Christmas:
how clever we are, how real –
you could say we look alive –
you could say we were asleep.

To serve animals with animals whole or only
slightly dissected – is natural –
a front leg, hoofed and hairy,
a maned, unskinned, Cyclops-eyed,
perfectly split half horse’s head ...
       (‘showing ourselves to the neighbours’ children, Warragamba’)

Each of these poets persisted to the end of Harry’s life, as this volume demonstrates. Yet it is tempting to see the quite literally extraordinary work of the Peter Lepus poems – which continued to pop up in batches over time – as her mind’s masterstroke of integration. As Peter travels, his mind leaps between his literary-philosophical goals and associated moves (‘Trying to find a quiet / safe route / to the Baghdad Library’; ‘He decides to retreat / to Josh’s house ... & perhaps work on Anaximander’); information drawn from sensory contact with the world, including smell and touch: an Iraqi road is ‘hard – like a Northern Territory dry-earth road’; and attempts to make sense of what he sees and overhears. The conceit of writing from inside Peter’s head as he travels in a war zone allows Harry to deftly weave together philosophical, lyrical, and political threads. Eroticism and sexuality remain (mostly) beyond the pale of the Peter Lepus poems, but are particularly present in poems excerpted from the final collection, Public Private (2013). They haunt some of Harry’s most devastating works, including the renowned poem ‘tunnel vision’ on the aftermath of a rape, but also a dystopian poem from the The Life on Water and the Life Beneath (1995), ‘Mother with Broom’, an astonishing exposé of intertwined female sexuality and grief.

In a recent book, Lucy Alford analyses poems as Forms of Poetic Attention (2020). This lens is unusually apt for J.S. Harry. Some of the poems I regard as ‘ecological-lyrical’ are acts of almost pure attention; they observe (‘turn gently’ in the mind’s eye) and release their objects back into the world, without feeling the need to grasp a moral or an insight from the act of perception. Often the observation has an interior feel, as if the adage of ‘walking in another’s shoes’ has become the poet’s practice of a sensory, even visceral, empathy. Lines such as these are exquisitely crafted to generate empathy in the reader as well, creating an ‘objective correlative, in music’ for what the poet intuits as the panic of trapped ants:

From the boat he’d
watched the ants run, time and time repeated,
to the edge, to the edge of their world,
as if looking for an exit from its ending,
as if in panic; when a leaf-
boat brushed, just once, against the dead-man-tree,
three ants jumped, at that instant, at it, two
fell and were swirled turning
down into the muddy eddies of the drowned things.

Later in the poem, Harry imagines a suicide by drowning:

When water fills your ears
and you hear nothing
you have a few moments
in which to try
to imagine
                               ~
how to make
the unbearable
sound
       (‘The Life on Water and the Life Beneath’)

Attention to the ‘few moments’ in which sensory and mental experience are translated into language arguably undergirds the whole of Harry’s oeuvre. Thus, if we listen closely to this stanza – to ‘nothing’ but the words and their meanings – we can hear an unsettling resonance in the fact that it may or may not frame a question; and that ‘sound’ itself may be either a noun (an inaudible cry) or a verb ringing out like a bell hung alone on its line. There is much to be gained by bending close to this body of work.

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Geoff Page reviews Song of Less by Joan Fleming and Blight Street by Geoff Goodfellow
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In the years since Les Murray’s The Boys Who Stole the Funeral (1980) and Alan Wearne’s The Nightmarkets (1986), the verse novel has become, despite its inherent difficulties, an established literary form in Australian poetry (and fiction, for that matter). Verse novelist Dorothy Porter (1954–2008), with The Monkey’s Mask (1994) and other works, gave it further prominence. Steven Herrick is just one of the poets who are making it an important part of the Young Adult field. A series of interviews with Australasian verse novelists (The Verse Novel), edited by Linda Weste, has recently gone into a second edition.

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Book 1 Title: Song of Less
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Book 1 Biblio: Cordite Books, $19.95 pb, 87 pp
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Book 2 Title: Blight Street
Book 2 Author: Geoff Goodfellow
Book 2 Biblio: Walleah Press, $20 pp, 48 pp
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In the years since Les Murray’s The Boys Who Stole the Funeral (1980) and Alan Wearne’s The Nightmarkets (1986), the verse novel has become, despite its inherent difficulties, an established literary form in Australian poetry (and fiction, for that matter). Verse novelist Dorothy Porter (1954–2008), with The Monkey’s Mask (1994) and other works, gave it further prominence. Steven Herrick is just one of the poets who are making it an important part of the Young Adult field. A series of interviews with Australasian verse novelists (The Verse Novel), edited by Linda Weste, has recently gone into a second edition.

Among the more frequently encountered difficulties with verse novels is density of imagery. Too little of it and the reader will mistake the writing for prose; too much and narrative momentum, one of the form’s chief strengths, will be seriously slowed. Characterisation is a second problem. There is no time for too much of it – yet without enough the work will be stillborn.

Two recent verse novels that address both these problems (and others) are Joan Fleming’s Song of Less and Geoff Goodfellow’s Blight Street, the former in the tradition of post-apocalyptic dystopias, the latter in the tradition of ultra-realism.

Wisely, Fleming is not too specific about what exactly has caused the cruelly limited world in which her story is enacted. Certainly, it has had something to do with climate change, but it also seems to have been more complex, and more thorough, than that. Fleming’s small band of characters move through a landscape that is hugely diminished from the one they can just remember from their prelapsarian years. Its days are an unending, seemingly seasonless twilight (reminiscent of a nuclear winter), in which the group is doomed to begin again what might loosely be called ‘the human story’.

Echoes of Genesis, and the Old Testament more generally, are strong but subtly handled, with some pointed variations. Fleming’s society, for example, is essentially matriarchal with a Grandmother figure holding what wisdom there is, based partly on her memory of the ‘Almanac’, and her all too brutally acquired knowledge of human nature. The male element, however, is not entirely subdued. The character Cousin Butcher is a powerful manifestation of it. Cousin Groundpigeon and the husband of Cousin Frogmouth are slightly less problematic and more balanced.

Though lineated verse (even a sonnet) is occasionally used, Fleming’s story is mainly told through a series of vivid prose poems spoken by characters named after bird species, now apparently extinct. A central strand here is the sexual relationship involving the disfigured woman, Cousin Twig, who is initially drawn to Cousin Groundpigeon, but gives way instead to the hardly sentimental insistence of Cousin Butcher. The tone of their first intercourse is indicative of the book’s tone more generally: ‘I let myself be guided / behind the Resting Trees / I let the one who wanted to / cut away / my smells // I don’t know how he got into my cave / don’t ask  me // You can’t be in another’s cave / unless you’re Gone / as we well know // I felt the licking flamelets of power / as I pushed him off me afterwards / when all he wanted was / another go.’ Later, Cousin Twig wonders ‘if / the time he roped me / back / was when he planted / the bad seed’ – which leads, in turn, to a kind of false-hope child who, seemingly, has to be put down.

Fleming’s is a violent but convincing world of compelled rebirth, which we are powerfully and poetically urged to avoid.

 

Paradoxically then, after Fleming’s dystopia from the indefinite future, it is more than discomfiting to begin Geoff Goodfellow’s Blight Street and to be reminded of a dystopia that has been with us for generations: that is, intergenerational poverty and its associated addictions.

At only forty-eight pages, Blight Street is reasonably described by its publishers as a novella. It is presented in just three monologues – from sixteen-year-old Carl, his eight months-younger girlfriend, Larissa, and, finally, from Carl’s father, Sean. Each monologue is broken into discretely titled poems that describe the blighted fate of at least four generations across a number of families and hint at its repetition in a fifth.

The novella is prefaced by Chris Kourakis, South Australia’s current chief justice, who draws attention to its concern with ‘the heroism of the working class struggle, the tragedy of addiction and the celebration of love and sexual attraction’. It is not long, however, before the reader sees that the book’s merits go well beyond its possible social value to its characters’ demographic – and to those born in luckier circumstances.

Goodfellow’s narrative begins with Carl who is (narrowly) still at school and living with his thirty-one-year-old mother, Bec. Bec is four years into sobriety, and some adult education, with help from Alcoholics Anonymous. In successive poems we learn that both Bec’s mother and grandmother are, or were, major alcoholics.

In the final section, spoken by Carl’s father, Sean, it is revealed that the narrator is in jail for cooking and selling ice, to which he’s seriously addicted. In the book’s penultimate poem, we discover that Sean’s sister is also in prison and that his older brother has ‘O.D’d / three years back’, being left to die by friends who ‘were too shit scared to ring / an ambulance’. Larissa, in the book’s second section, details comparable problems – a father who is in prison for molesting her and a mother who has become a helpless gambling addict.

Given all this, it is remarkable that the reader is left with considerable optimism. As Larissa and Carl are about to become teen parents in the kind of situation that spoiled Bec’s earlier years, Bec, in a crucial scene, gives them advice that will almost certainly prevent the cycle’s happening again. Unlike Carl’s somewhat
pretentious middle-class teachers, Bec speaks from experience and with determination.

Larissa recalls how Bec unceremoniously drags her and Carl out of bed on their first night of sleeping over: ‘she went on for some time about / teenage pregnancies / & how they limit what life can offer // she said she understood where we were / coming from / (then talked about falling pregnant with Carl / at fifteen) / & talked about raging hormones / how we really had to learn to think / long term’. This is the core of Goodfellow’s novella. In the last section, Sean says: ‘I don’t want to make too many excuses / but I didn’t get much of a start.’ Just before this, he tells us: ‘I grew up / with alcoholic parents / both of ‘em on the piss seven days a week / and blueing like a pair of mongrel dogs.’

Goodfellow strikes a nice balance. Certainly, much of the dysfunction of the addicted poor is environmentally determined (and could be addressed structurally by a more sympathetic and discerning society) but there also remains the continuing possibility of actually taking Bec’s advice to ‘learn to think / long term’.

A mark of the author’s artistry is that, in such a short space, he makes us care for, and truly understand, these people and their profound predicaments, without falling into either a fatalistic apathy or mere sentimentality.

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Autoimmune, a poem by Katherine Brabon
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I have two eyes and almost two noses / The lips of one face curve to meet my second / Neither of them look straight ahead.

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After Double Portrait by Dora Maar

 

I have two eyes and almost two noses
The lips of one face curve to meet my second
Neither of them look straight ahead.

Half of me aches and swells
The other half is perfect. I am given exercises
In blind repetition to pursue symmetry.

Striate ligament and feel this
Disease belt through me. Flamed nation
The water is only your own, so bathe.

Lying palms up while he presses down
I imagine this gooseneck of mine
As hypertufa brittle, ready to snap.

Walk in a park. Silent bell flowers
Little Carrara statues hang themselves over
Botanical beds. All I want is to be reeled in

From dangerous poses. Saved from cracked marble
My hands scratched red now
Sutured to goodness. Daring darling flower. Like girls hung

From monkey bars, everything might fall
Out of them coins all. Warn off, cut down
My contingencies. Watching the mirror

I am so faithful to this repetition. Yet I cannot stop
hanging myself in metaphor. The one side of me swells and aches.
I lift my muscles and do what I’m told.

 

 

 


Editorial note - the word ‘Silent’ was originally ‘Mute’.

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Poet of the Month with Anthony Lawrence
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The list is long, and takes the scenic route, from Homer to Hill, on to Plath / and Sexton, Murray, Adamson, and many I’ve forgotten. An overgrown path / with signposts lit or down, pressing on by star or map light, word of mouth / or accidental find. Influence is confluence, where shock of emotion / meets quiet thought. I follow leads, read every day, avoiding emoticons. 

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Which poets have influenced you most?

The list is long, and takes the scenic route, from Homer to Hill, on to Plath
and Sexton, Murray, Adamson, and many I’ve forgotten. An overgrown path
with signposts lit or down, pressing on by star or map light, word of mouth
or accidental find. Influence is confluence, where shock of emotion
meets quiet thought. I follow leads, read every day, avoiding emoticons.

Are poems chiefly inspired or crafted?

Inspiration and craft can often be seen holding hands as they leave or enter
a wild space just out of reach of the intellect. Forest. Atoll. Some encounter
with a muse wearing a Royal spoonbill mask or a digger rolling a smoke
beside a grave. There’s little use resisting the poetic impulse when it breaks
from cover. You need to sign on. Go under. The subconscious is the better
vehicle every time. It’s self-hypnosis. Surrender to the ineffable. Craft can still
be applied while under the meniscus of awareness. Writing poetry is a spell.

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Chris Arnold reviews Stasis Shuffle by Pam Brown
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The reader of Stasis Shuffle is immediately confronted with the collection’s naming convention. Titles of poems and sections are parenthesised, for example, ‘(best before)’, ‘(weevils)’, ‘(& then). More than simple stylisation, this convention suggests that every poem is a fragment, a meander through consciousness. The first poem, ‘(best before)’, begins ‘liberated / from the drudgery / of usefulness’, a quote from Walter Benjamin. From there, Stasis Shuffle wanders flâneur-style through language, politics, and many different kinds of plant life. The central arc of Stasis Shuffle, however, is its self-consciousness about subjectivity and process. ‘(best before)’ asks ‘is your slowly accreting poem / morphing into a larger cloud yet’? As the collection unfolds, poems begin to comment on themselves and the writing process.

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The reader of Stasis Shuffle is immediately confronted with the collection’s naming convention. Titles of poems and sections are parenthesised, for example, ‘(best before)’, ‘(weevils)’, ‘(& then). More than simple stylisation, this convention suggests that every poem is a fragment, a meander through consciousness. The first poem, ‘(best before)’, begins ‘liberated / from the drudgery / of usefulness’, a quote from Walter Benjamin. From there, Stasis Shuffle wanders flâneur-style through language, politics, and many different kinds of plant life. The central arc of Stasis Shuffle, however, is its self-consciousness about subjectivity and process. ‘(best before)’ asks ‘is your slowly accreting poem / morphing into a larger cloud yet’? As the collection unfolds, poems begin to comment on themselves and the writing process.

Read more: Chris Arnold reviews 'Stasis Shuffle' by Pam Brown

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Brenda Walker reviews Bedtime Story by Chloe Hooper
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A father sits on a couch that is set between the beds of his young sons, who must be eased into sleep with a story. The scene is illuminated by a lamp in the shape of the globe, which is as it should be, for he shows them his world through the simple patterns of these stories: his cherishing of the natural world; his insight into happy reversals of fortune; his humour. The father’s stories are spellbinding, reassuring the children and also their mother, who tells herself that no harm can come to this man in the middle of a tale. She is reminded of the old motif from the Thousand and One Nights, where the storyteller wards off death with a gripping narration.

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A father sits on a couch that is set between the beds of his young sons, who must be eased into sleep with a story. The scene is illuminated by a lamp in the shape of the globe, which is as it should be, for he shows them his world through the simple patterns of these stories: his cherishing of the natural world; his insight into happy reversals of fortune; his humour. The father’s stories are spellbinding, reassuring the children and also their mother, who tells herself that no harm can come to this man in the middle of a tale. She is reminded of the old motif from the Thousand and One Nights, where the storyteller wards off death with a gripping narration.

Read more: Brenda Walker reviews 'Bedtime Story' by Chloe Hooper

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Saskia Beudel reviews Australian Deserts: Ecology and landscapes by Steve Morton
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Ecologist Steve Morton’s new book opens with a telling anecdote: as a young scientist in Alice Springs, he often advised visiting film crews about promising locations for their nature documentaries. When one group returned after a week in the desert, they reported back on a single hitch in an otherwise successful trip – a lack of wind-blown sand dunes. To fix this problem they cleared spinifex off a dune, creating a large expanse of bare sand, the illusion enhanced by accommodating morning winds.

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Ecologist Steve Morton’s new book opens with a telling anecdote: as a young scientist in Alice Springs, he often advised visiting film crews about promising locations for their nature documentaries. When one group returned after a week in the desert, they reported back on a single hitch in an otherwise successful trip – a lack of wind-blown sand dunes. To fix this problem they cleared spinifex off a dune, creating a large expanse of bare sand, the illusion enhanced by accommodating morning winds.

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Killian Quigley reviews The Nutmeg’s Curse: Parables for a planet in crisis by Amitav Ghosh
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Approximately 37,000 years ago, a volcano erupted in the south-east corner of the continent now known, in settler-colonial parlance, as Australia. His name is Budj Bim. As his lava spread and cooled, Budj Bim’s local relations, the Gunditjmara people, set about developing new ways of managing the changing landscape. They would engineer, most famously, a large and sophisticated aquaculture system, one dedicated in particular to the raising and harvesting of Kooyang, or eels. This infrastructure, explains Gunditjmara man Damein Bell, was instrumental in providing food to ‘one of the largest population settlements in Australia before Europeans arrived’.

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Approximately 37,000 years ago, a volcano erupted in the south-east corner of the continent now known, in settler-colonial parlance, as Australia. His name is Budj Bim. As his lava spread and cooled, Budj Bim’s local relations, the Gunditjmara people, set about developing new ways of managing the changing landscape. They would engineer, most famously, a large and sophisticated aquaculture system, one dedicated in particular to the raising and harvesting of Kooyang, or eels. This infrastructure, explains Gunditjmara man Damein Bell, was instrumental in providing food to ‘one of the largest population settlements in Australia before Europeans arrived’.

Read more: Killian Quigley reviews 'The Nutmeg’s Curse: Parables for a planet in crisis' by Amitav Ghosh

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Stone face: The history and prehistory of deadpan by Sarah Balkin
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A deadpan comedian maintains a straight face or an even tone while delivering ridiculous content. As a performance of humourlessness that makes people laugh, deadpan registers tensions in contemporary culture. Comedy is among the most popular modes of entertainment and social commentary: the Melbourne International Comedy Festival, for example, is Australia’s largest ticketed cultural event, with attendances of up to 770,000. But over the past few years, criticism of comedy’s traditional reliance on stereotypes and its misogynistic and homophobic industry conditions has intensified as high-profile comedians (Bill Cosby, Louis C.K.) were denounced or tried for sexual misconduct and as a new generation of ‘woke’ comedians have engaged with a resurgent cultural earnestness, often disparaged as ‘PC humourlessness’.

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A deadpan comedian maintains a straight face or an even tone while delivering ridiculous content. As a performance of humourlessness that makes people laugh, deadpan registers tensions in contemporary culture. Comedy is among the most popular modes of entertainment and social commentary: the Melbourne International Comedy Festival, for example, is Australia’s largest ticketed cultural event, with attendances of up to 770,000. But over the past few years, criticism of comedy’s traditional reliance on stereotypes and its misogynistic and homophobic industry conditions has intensified as high-profile comedians (Bill Cosby, Louis C.K.) were denounced or tried for sexual misconduct and as a new generation of ‘woke’ comedians have engaged with a resurgent cultural earnestness, often disparaged as ‘PC humourlessness’.

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Jacqueline Kent reviews Reckoning: The forgotten children and their quest for justice by David Hill
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In 1959, David Hill, aged twelve, left England and sailed on the Strathaird to Australia with two of his three brothers. Like thousands of children before them the Hill boys were bound for a Fairbridge farm school. Like thousands of children before them, they had come from a poor background, with a struggling single mother who believed that Fairbridge would give her boys a better education and greater opportunities in life than she possibly could.

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In 1959, David Hill, aged twelve, left England and sailed on the Strathaird to Australia with two of his three brothers. Like thousands of children before them the Hill boys were bound for a Fairbridge farm school. Like thousands of children before them, they had come from a poor background, with a struggling single mother who believed that Fairbridge would give her boys a better education and greater opportunities in life than she possibly could.

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David Ferrell reviews Facts and Other Lies: Welcome to the disinformation age by Ed Coper
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On 9 March 2022, Russian forces at war in Ukraine bombed a maternity hospital in the city of Mariupol, killing three and injuring seventeen. In a confused response to international condemnation, Russia denied responsibility, designating these denunciations ‘information terrorism’ and ‘fake news’. 

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On 9 March 2022, Russian forces at war in Ukraine bombed a maternity hospital in the city of Mariupol, killing three and injuring seventeen. In a confused response to international condemnation, Russia denied responsibility, designating these denunciations ‘information terrorism’ and ‘fake news’. 

Russia does not accept that its military incursion into Ukraine is a war. The West, according to Russia, is operating a coordinated economic and information war against it. Facing this scourge of ‘disinformation’, Russia amends its law, criminalising ‘fake news’ about the war in Ukraine under penalty of up to fifteen years in prison. On 3 March, Russia commenced mandatory national lessons for schoolchildren, teaching them to distinguish between true, Russian news, and fake news. The line between disinformation and fact is blurred.

Read more: David Ferrell reviews 'Facts and Other Lies: Welcome to the disinformation age' by Ed Coper

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Sean Scalmer reviews Class in Australia edited by Steven Threadgold and Jessica Gerrard
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To contemplate class in Australia is to be confronted immediately by paradox. Australia has over the past forty years become much more unequal, and yet those institutions formed to contest class inequality – the trade unions and the Labor Party – have become weaker and less militant. The labour movement has largely avoided a language of class as divisive and old-fashioned, and yet right-wing propagandists have successfully deployed a rhetoric of ‘battlers’, ‘aspirationals’, and ‘élites’ to draw support and win elections. The university system has been transformed, so that its leadership is akin to a corporate class of ‘change agents’ and much of its workforce is insecurely employed. Within the halls of learning, class analysis has not for some time been an area of vigorous research; in the humanities and social sciences, the action (and the research funding) has long been elsewhere.

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To contemplate class in Australia is to be confronted immediately by paradox. Australia has over the past forty years become much more unequal, and yet those institutions formed to contest class inequality – the trade unions and the Labor Party – have become weaker and less militant. The labour movement has largely avoided a language of class as divisive and old-fashioned, and yet right-wing propagandists have successfully deployed a rhetoric of ‘battlers’, ‘aspirationals’, and ‘élites’ to draw support and win elections. The university system has been transformed, so that its leadership is akin to a corporate class of ‘change agents’ and much of its workforce is insecurely employed. Within the halls of learning, class analysis has not for some time been an area of vigorous research; in the humanities and social sciences, the action (and the research funding) has long been elsewhere.

Read more: Sean Scalmer reviews 'Class in Australia' edited by Steven Threadgold and Jessica Gerrard

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Open Page with Chloe Hooper
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Chloe Hooper is the author of The Arsonist: A mind on fire and The Tall Man: Death and life on Palm Island and two novels, A Child’s Book of True Crime and The Engagement. Her most recent book is Bedtime Story.

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Chloe Hooper is the author of The Arsonist: A mind on fire and The Tall Man: Death and life on Palm Island and two novels, A Child’s Book of True Crime and The Engagement. Her most recent book is Bedtime Story.


 

If you could go anywhere tomorrow, where would it be, and why?

Antarctica. Surely visiting the South Pole would tick off all the qualities of the sublime, being of great physical, metaphysical, aesthetic, spiritual and – as we hasten the ice shelves’ destruction – moral interest. I need to find a way there before it melts.

 

What’s your idea of hell?

The blithe way I wrote that last sentence.

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Poet of the Month with Toby Fitch
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Toby Fitch is poetry editor of Overland and a lecturer in creative writing at the University of Sydney. He is the author of seven collections of poetry, most recently Sydney Spleen (Giramondo, 2021).

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Toby Fitch is poetry editor of Overland and a lecturer in creative writing at the University of Sydney. He is the author of seven collections of poetry, most recently Sydney Spleen (Giramondo, 2021).


 

Which poets have influenced you most?

At school: Coleridge, Frost, Yeats, Shakespeare. In my twenties, to avoid the notion that poems are pure, untouchable things, I read loads in translation, and still do: Rimbaud, Apollinaire, Reverdy, Lorca, Mayakovsky, Tsvetaeva, Tranströmer, Ritsos, Celan, Rilke, Radnóti, Césaire. There’s something freeing about reading the semblance of a poem. Most influential in English: Stein, Plath, Ashbery, O’Hara, Carson. More recently: Claudia Rankine, Kim Hyesoon, C.A. Conrad, Mary Ruefle. Mentors/colleagues who have had a big effect on me: Chris Edwards, Michael Farrell, Martin Harrison, A.J. Carruthers, Evelyn Araluen. My latest book Sydney Spleen was directly influenced by Baudelaire, Sean Bonney, Pam Brown, joanne burns, and John Forbes, among many others indirectly.

 

Are poems chiefly inspired or crafted?

For me, and in the spirit of such a dialectic, poems (i.e. ‘poiesis’) are constructed out of a need to make something make sense, or to make nonsense of something.

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Patrick McCaughey reviews ‘A Life of Picasso: The minotaur years, 1933–1943’ by John Richardson
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Sir John Richardson published the first volume of his monumental A Life of Picasso: The prodigy, 1881–1906, in 1991. The second volume, The painter of modern life, 1907–1917 illuminating the Cubist years, followed in 1996. The next volume, The triumphant years, 1917–1932, appeared eleven years later and gave rise to speculation as to how Richardson, then seventy-three, could complete his ambitious task with nearly thirty years of prodigious production on the artist’s part still to be covered. Now we have the fourth and final volume, The minotaur years, published posthumously – Richardson died in 2019 – with a lot of assistance. It’s the shortest, least compelling volume of the series.

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Book 1 Title: A Life of Picasso
Book 1 Subtitle: The minotaur years, 1933–1943
Book Author: John Richardson
Book 1 Biblio: Jonathan Cape, $75 hb, 308 pp
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Sir John Richardson published the first volume of his monumental A Life of Picasso: The prodigy, 1881–1906, in 1991. The second volume, The painter of modern life, 1907–1917 illuminating the Cubist years, followed in 1996. The next volume, The triumphant years, 1917–1932, appeared eleven years later and gave rise to speculation as to how Richardson, then seventy-three, could complete his ambitious task with nearly thirty years of prodigious production on the artist’s part still to be covered. Now we have the fourth and final volume, The minotaur years, published posthumously – Richardson died in 2019 – with a lot of assistance. It’s the shortest, least compelling volume of the series.

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Tim Robertson reviews China Panic: Australias alternative to paranoia and pandering by David Brophy
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Moral certitude, wrong-headedness, and ignorance inform what passes for debate about China in Australia today. There is so much grandiose proselytising born out of flawed history and tired tropes. Considering how ill-informed the most prominent Australian commentators are about China, it’s quite a feat that they’re often more deceived about their own nation.

Book 1 Title: China Panic
Book 1 Subtitle: Australia's alternative to paranoia and pandering
Book Author: David Brophy
Book 1 Biblio: La Trobe University Press, $32.99 pb, 260 pp
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Moral certitude, wrong-headedness, and ignorance inform what passes for debate about China in Australia today. There is so much grandiose proselytising born out of flawed history and tired tropes. Considering how ill-informed the most prominent Australian commentators are about China, it’s quite a feat that they’re often more deceived about their own nation.

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Chris Wallace reviews Keeping Them Honest: The case for a genuine national integrity commission and other vital democratic reforms by Stephen Charles and Catherine Williams
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One of the most important pieces of public interest journalism in recent times, and one with direct relevance to Australia, was written from a prison camp east of Moscow in 2021 by Russia’s de facto opposition leader, Alexei Navalny, incarcerated by the Putin government after its failed assassination attempt on him (Guardian, 20 August 2021). During his imprisonment, Navalny had identified a pattern in the memoirs of world leaders. Integrity was never mentioned in their accounts of ‘big agenda’ policy successes, only failures. The argument that pervasive corruption in the government of Afghanistan explained the failure of Western intervention there is one example. Navalny said the pattern invited an obvious question.

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Book 1 Title: Keeping Them Honest
Book 1 Subtitle: The case for a genuine national integrity commission and other vital democratic reforms
Book Author: Stephen Charles and Catherine Williams
Book 1 Biblio: Scribe, $32.99 pb, 271 pp
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One of the most important pieces of public interest journalism in recent times, and one with direct relevance to Australia, was written from a prison camp east of Moscow in 2021 by Russia’s de facto opposition leader, Alexei Navalny, incarcerated by the Putin government after its failed assassination attempt on him (Guardian, 20 August 2021). During his imprisonment, Navalny had identified a pattern in the memoirs of world leaders. Integrity was never mentioned in their accounts of ‘big agenda’ policy successes, only failures. The argument that pervasive corruption in the government of Afghanistan explained the failure of Western intervention there is one example. Navalny said the pattern invited an obvious question. If ‘corruption is preventing us from finding solutions to the problems of the “big agenda”’, he asked, ‘has the time perhaps come to raise it to a priority on that agenda?’ This question is especially pertinent, he argued, because corruption is no longer an internal issue but rather the ‘universal, ideology-free basis for the flourishing of a new Authoritarian International’ that is a root cause of global problems facing the west. The success of energy oligarchs from several countries, including Australia, in frustrating international efforts to arrest global warming is a case in point. There are many more.

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Nadia Rhook reviews ‘Borderless: A transnational anthology of feminist poetry’ edited by Saba Vasefi, Melinda Smith, and Yvette Holt
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Article Title: Living difference
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‘Borderless’ is ‘a transnational anthology of feminist poetry’, arranged alphabetically with no themed sections, that I read slowly, out of paginated order, and savoured. Is ‘Borderless’ a description or an ideal? I wondered, as I returned, between poems, to look at the cover image of a multi-coloured painted woman, a body located in no place I could discern. Does ‘Borderless’ refer to a poet’s ability to dissolve borders through imagination, or to a temporary state of flight or transgression? Perhaps, a borderless world is one akin to a poetry anthology with no hierarchy or divisions to order the poems and their meanings.

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Book 1 Title: Borderless
Book 1 Subtitle: A transnational anthology of feminist poetry
Book Author: Saba Vasefi, Melinda Smith, and Yvette Holt
Book 1 Biblio: Recent Work Press, $24.95 pb, 240 pp
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‘Borderless’ is ‘a transnational anthology of feminist poetry’, arranged alphabetically with no themed sections, that I read slowly, out of paginated order, and savoured. Is ‘Borderless’ a description or an ideal? I wondered, as I returned, between poems, to look at the cover image of a multi-coloured painted woman, a body located in no place I could discern. Does ‘Borderless’ refer to a poet’s ability to dissolve borders through imagination, or to a temporary state of flight or transgression? Perhaps, a borderless world is one akin to a poetry anthology with no hierarchy or divisions to order the poems and their meanings.

Read more: Nadia Rhook reviews ‘Borderless: A transnational anthology of feminist poetry’ edited by Saba...

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The case for lowering the voting age by Faith Gordon
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In Australia today, many young people are actively engaged in politics. While adults often describe young people as disengaged, apathetic, or uninformed about politics, these perceptions and labels do not align with the reality. As Judith Bessant has pointed out, ‘[T]here is a long and rich history of political action by children and young people’ (Making-Up People: Youth, truth and politics, Routledge, 2020).

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In Australia today, many young people are actively engaged in politics. While adults often describe young people as disengaged, apathetic, or uninformed about politics, these perceptions and labels do not align with the reality. As Judith Bessant has pointed out, ‘[T]here is a long and rich history of political action by children and young people’ (Making-Up People: Youth, truth and politics, Routledge, 2020).

Young people participate in politics and civic life in multifaceted ways, particularly with their use of digital technologies and online platforms. In Australia, they are leading movements on climate action, are engaging with other young people internationally on pushing for change, and are initiating strategic litigation on key matters, including challenging the federal government’s inaction on climate change.

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Politics by other means: Enlarging our diminished sense of political leadership by Frank Bongiorno
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Earlier this year, Ray Hadley was interviewing Scott Morrison on 2GB when the subject turned to the internal preselection battles of the Liberal Party in New South Wales. ‘And so it’s time for those who, you know, don’t do this for a living, to really allow those who really need to get on for the sake of the Australian people here,’ Morrison declared, none too coherently.

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Earlier this year, Ray Hadley was interviewing Scott Morrison on 2GB when the subject turned to the internal preselection battles of the Liberal Party in New South Wales. ‘And so it’s time for those who, you know, don’t do this for a living, to really allow those who really need to get on for the sake of the Australian people here,’ Morrison declared, none too coherently.

It is impossible to imagine Robert Menzies, the leading figure in the founding of a party that was designed to be democratic and participatory, even thinking such a thing, let alone saying it out loud. Veteran journalist Michelle Grattan, who reported Morrison’s remark, suggests that it revealed ‘Morrison’s penchant for control’. That’s true, but also inadequate. What is at stake here is the quality of politics in a representative democracy.

Morrison’s attitude is one shared by a large section of the political class. He is unusual only in openly expressing convictions that are normally just enacted, often furtively, rather than blurted out in public. But he was doing so in an environment – talkback radio – where he could be sure that few listeners lay awake at night worrying that their prime minister regarded politics as the preserve of professionals.

Morrison’s pitch has long been based on this attenuated, self-serving understanding of democracy. The basic idea was there in an article he produced for the Murdoch press in January 2019 a few months before his victory at the May election. Morrison was supposedly reporting on what he had heard from the ‘quieter Australians’ – later the completely ‘quiet Australians’ – on a visit to the New South Wales south coast. He ‘wasn’t there on any political visit’, he claimed, ‘just holidaying with Jen and the girls enjoying the flathead and chips like everyone else’. ‘There was no sign of the angry mob on social and in other media, shouting at each other and telling us all what we’re supposed to do, think and say … It was a great reminder that there are quite a lot of us who actually think Australia is a pretty great place and we don’t really have too much time to be angry. We’re too busy dealing with our own challenges and getting on with life.’

This has long been Morrison’s ideal citizen. They don’t do politics, beyond turning out to vote every three years or so – for him, if he can help it. In a populist sleight of hand, the leader steeped in political battle shares ordinary people’s disdain of disagreement and conflict. ‘I get it that people are tired of politics,’ Morrison said, in announcing the federal election for 21 May, as if he also felt the ordinary punter’s overwhelming weariness with it all. Having spent almost every moment of his waking life for years in political scheming of one kind or another, Morrison normalises an antipathy to politics on the part of ordinary people, celebrates their disengagement except on election day, and impugns active citizenship by anyone who does not practise politics for a living.

The elevation of the political professional over the mere citizen is not the preserve of any political party. Paul Keating had similar things to say when the Labor Party came under fire for selecting former New South Wales premier and present federal senator, Kristina Keneally, for the safe Labor seat of Fowler in culturally diverse western Sydney. A local Asian-Australian lawyer, Tu Le, was also in view as a possible candidate. Describing Keneally as ‘a huge executive talent’, Keating argued: ‘Local candidates may be genuine and well-meaning but they would take years to scramble to her level of executive ability – if they can ever get there at all.’

It was perhaps fortunate for Keating that such criteria were not in play when he set out in the 1960s. Today, it is unlikely that a man in his mid-twenties who had left school at the age of fifteen, had no professional qualifications, and whose executive experience amounted to the management of a Sydney rock band, could possibly gain endorsement for a safe Labor seat. But as the British political scientist Peter Allen has argued in his book The Political Class: Why it matters who our politicians are (2018), decision-making élites defend their obvious lack of diversity – worse in Australia than in Britain, at least in ethnic terms – on the grounds of their ‘superiority as political operatives and their possession of superior political knowledge’. ‘This defence,’ Allen suggests, ‘casts politics as an exclusive activity, one that should be dominated by a certain kind of person – a person with a long-standing and sustained engagement with formal political organisations or institutions and with a high level of demonstrable political knowledge.’ For Allen, there is no mystery about why we do not get diversity. In an unequal society, the very traits identified as necessary for politics are found among the most privileged.

In Australia, too, the pathways into politics via parties are narrow, advantaging transactional players over charismatic leaders, and political professionals over everyone else. The budding politician needs to build factional support to break through, and it is an open secret that many of the taxpayer-funded staffers in members’ and ministers’ offices are working as consiglieres of factional bosses. Rodney Cavalier, a former state Labor minister in New South Wales, has been scathing about the effect of this class of paid operatives on the parties and the wider political system. ‘Factional operatives are members of the only class which has survived into this century – the political class,’ he argued in his book Power Crisis: The self-destruction of a state Labor Party (2010), and they ‘fulfil all of the Marxist definitions of class’.

The power of that class is a symptom of a wider problem: Australia’s major political parties are broken, possibly beyond repair. It is ironic that the major parties, and especially the Liberals, have accused independent candidates backed by the organisation Climate 200 of being, in essence, a political party. A more justified accusation might be levelled at the older players: that in important ways they have ceased to be political parties. They have certainly ceased to be mass parties of the democratic kind. The German-born Italian theorist Robert Michels identified the tendency toward the concentration of power in party officials as ‘the iron law of oligarchy’ in his Political Parties (1911). Today, the parties conform to what political scientists call the ‘electoral-professional’ model, machines operated by experts that are designed to facilitate candidate selection. This is a worldwide phenomenon, whereby mass parties of the traditional kind give way to organisations that consist largely of their parliamentary representatives and paid functionaries – a melting iceberg with a small tip and not much below the waterline.

What is more disturbing – and surely related to the evolution of the parties toward this élite formulation – is that they fail to conform to even the basic standards that most Australians would associate with democratic governance. Factional warlords and party officers exercise overwhelming power. The media occasionally expose instances of poor or illegal behaviour, but there is little sustained analysis of internal party affairs. Some Murdoch columnists are de facto participants, especially in the Liberal Party’s factional squabbles, and are therefore incapable of disinterested analysis. Nor do the courts seem inclined to do anything to enforce such norms, a point made all too starkly in recent litigation over a preselection process in the New South Wales division of the Liberal Party that saw rank-and-file members sidelined and selections made by a panel of three: the prime minister, the premier, and a former federal party president.

It is not that the parties have shunned self-reform entirely. There are groups within the major parties advocating more democratic practices. There have also been assorted experiments in reform. The Labor Party and the Nationals have trialled American-inspired primaries, but they sit uneasily in an Australian setting where, unlike in the United States, voters do not publicly register as a supporter of a party. In another democratising measure, the Labor Party instituted rank-and-file participation in leadership selection in 2013, a practice that had prevailed within the British Labour Party for many years. Minor parties such as the now defunct Australian Democrats and the Greens have also adopted a wider participatory democracy, in matters such as policy formulation and leadership elections, than has been customary in the older and larger parties. But again, practice in Australia has been untidy. With three-year federal parliamentary terms rather than Britain’s five, there are potentially serious transactional costs to popular leadership elections and therefore strong incentives for the factions to stitch up a deal and avoid a contest. As it happens, we have had just one since the system was instituted, that in which Bill Shorten defeated Anthony Albanese in 2013. The rank and file had supported Albanese, while the parliamentary party – with half the voting power – favoured Shorten.

None of these measures has done much to disperse power within the parties. Where reforms have been tried in the name of greater democracy, as in the New South Wales Liberals, they can be overridden when they cause inconvenience. Both party machines routinely impose candidates on local branches. Oligarchies do not lightly surrender power, and those who run Australia’s political parties, with their declining and largely powerless rank and file, are no more likely than any other to hand over the keys to the kingdom.

A recent review of the Western Australian Liberal Party, which managed to win just two seats at the 2021 election in possibly the most devastating landslide in Australian political history, put the problem starkly, explaining: ‘factions don’t want a large membership because it’s too difficult to exercise control. It’s much easier to manipulate small numbers into positions of authority so as to control pre-selections.’

The major parties, then, are in decay if considered as membership organisations and instruments of democracy. But we also need to retain perspective. The election of an independent or a minor party member is still the exception rather than the rule – for lower-house elections especially. Voter allegiance to the major parties has declined and, with it, the idea of a lifelong partisan. Yet, at recent federal elections the main parties still attracted about three in four primary votes for the House of Representatives – lower than at any time since 1910 but ensuring that elections remain a contest for government between two sides. In that sense, the two-party system remains intact.

This is one reason why the democratic health of the major political parties should concern us all. If the local bowling club descends into oligarchy and disorder, that will matter to members of that club but few others. If voluntary organisations more generally are struggling – and they do have their problems – we might begin to worry about the health of civil society. But if a major political party is in poor health, we have a serious difficulty. Most citizens do not much engage with the parties’ internal affairs, and they may well see them in much the same terms as the problems of a bowling club to which they do not belong. But parties remain dominant in mediating the relationship between the citizen and parliament, and therefore government. If the parties are notably oligarchic and dysfunctional, it is a problem of democratic governance for the whole society.

Are there remedies, beyond the noble but unrewarding and possibly hopeless task of joining a party and reversing the momentum toward oligarchy? One way that major political parties are failing is in their capacity to generate the kinds of political representation and public leadership that an increasingly educated, sophisticated, and diverse society demands.

They are not, of course, complete failures. The parties, inevitably, still attract talent. They still send into parliament people with an interesting backstory. Only more rarely, however, do they attract someone who is entering politics having already achieved distinction in wider society: such as a Bob Hawke, a Malcolm Turnbull, a Peter Garrett, or a Maxine McKew. Simon Holmes à Court, the founder of Climate 200, which is supporting several independent candidates at the federal election, played up this point in an address to Canberra’s National Press Club in February 2022. ‘These candidates don’t need to go into politics to be successful because they are already successful,’ he said. ‘They are business owners, doctors, lawyers, journalists and athletes. They are in it for the right reasons.’

Put in these terms, the independent challenge might not seem a great blow for diversity. While success would boost female parliamentary representation, these are white, middle-class professionals who bear more than a passing resemblance to those found in the major parties. Indeed, a few of the candidates have a Liberal pedigree, in a couple of cases stretching back over generations. Allegra Spender, in Wentworth, is the daughter and granddaughter, and Kate Chaney in Curtin the granddaughter and niece, of prominent Liberal parliamentarians. In many instances, these independents would once have found a home in the Liberal Party. They are quintessentially of what Judith Brett has called ‘the moral middle class’.

Still, the independents, and especially those generated by the ‘Voices Of’ movement that began with Cathy McGowan in the Victorian regional seat of Indi (2013–19), are offering a form of public leadership that, with some exceptions, has not flourished recently in the major parties. It is notable that their favourite causes – climate change, political integrity, gender equity – are among those that the major parties have managed most poorly. These are issues where there has often been a radical mismatch between public opinion and party action. Just as with the issues of marriage equality and fairer treatment of refugees, the parties have failed to lead, instead following in the wake of a public opinion formed independently of their own efforts and often at odds with party policy.

 

The independent phenomenon might also be seen in a wider context: the emergence of new forms of public leadership. One interesting, and perhaps surprising, vehicle has been the Australian of the Year Award. In recent years especially, it has become a means by which issues marginalised in everyday political discourse, and people of talent remote from the parties, are exercising political leadership. This was not the award’s role in the more distant past. As Sam Furphy has shown in his history of the award, it functioned initially in a low-key manner as a way of recognising achievement by the already prominent. The first winner in 1960 was medical scientist and Nobel Prize winner Macfarlane Burnet, the second opera singer Joan Sutherland. It has been more obviously ‘political’ at some points in its history than others – the period of Phillip Adams’s chairmanship of the National Australia Day Council in the Keating era saw a movement away from sporting figures and celebrities and towards selections expressing a progressive national identity, especially through the arts and environment.

But with figures such as Rosie Batty (2015) on family violence, Grace Tame (2021) on sexual abuse, and the current Australian of the Year, paralympic champion and tennis star Dylan Alcott on disability, the National Australia Day Council is effectively forging a new kind of cause-based public leadership. It is spotting talent, identifying causes that matter, and providing a platform for public influence – in other words, it is arguably performing some of the kinds of work that one might expect of a well-functioning political party. Tame’s often controversial tenure as Australian of the Year was a reminder, from a woman still in her mid-twenties, of the kinds of creative public leadership that the mainstream political system is unable generate in its present state, and will be unable to produce for as long as we envisage a politician as a certain kind of professional amenable to the discipline of political parties. But our public culture has been enriched by the willingness of the National Australia Day Council to embrace risk and foster new forms of leadership.

In democracies, we are told that the people are boss. In reality, most of us are left as bystanders, or, as David Graeber and David Wengrow put it in The Dawn of Everything: A new history of humanity (2021), as mere spectators at ‘a game of winners and losers played out among larger-than-life individuals’. We are expected to be content with a place at the back of the grandstand, with little hope of our voices carrying to other spectators or those heroic figures competing on the arena. Some of us, of course, are even further towards the back of the stand than others.

In the last third of the nineteenth century, Australia’s democracy was among the first in the world to create a class of professional politicians, elected representatives able to make their living from politics because they were paid for their work. Professionalisation had its benefits, allowing men (and eventually a few women) of modest means to stand for election, even as it generated complaints about politicians as parasites on the public purse who were only in it for the cash and perks. But parliamentary pay was a precondition for the entry of working people into politics through the Labor Party.

Today, our democracy suffers from the systematic marginalisation of those who do not aspire, and cannot realistically aspire, to the profession of politics. But serious social and political change needs dreamers, visionaries, and thinkers – and perhaps even the occasional prophet and ratbag. No single election will solve the problem of a politics whose capacity to grapple with the most pressing problems of our nation and world often seems exhausted. That can only come out of an enlarged sense of the meaning of political leadership and the possibilities of our democracy. 


This commentary is generously supported by the Judith Neilson Institute for Journalism and Ideas.

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2022 Calibre Essay Prize (Winner): This woman my grandmother by Simon Tedeschi
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A decade before she died, my grandmother Lucy, whose Hebrew name was Leah but who was known to us as Nanna, decided to write her memoirs. English wasn’t her first language, let alone her second or third, so rather than write she chose to speak. When she was finished, the contents of eight cassette tapes were typed up and bound in blue plastic covers. Copies were made for both daughters and all five grandchildren, of whom I am the eldest.

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A decade before she died, my grandmother Lucy, whose Hebrew name was Leah but who was known to us as Nanna, decided to write her memoirs. English wasn’t her first language, let alone her second or third, so rather than write she chose to speak. When she was finished, the contents of eight cassette tapes were typed up and bound in blue plastic covers. Copies were made for both daughters and all five grandchildren, of whom I am the eldest.

I promised Nanna that I would read her words as soon as I had my own copy, but I wasn’t being honest with her or myself. Reading for me has always entailed a kind of resistance. You bring your eyes, ears, and hands to the page, but the page brings something back, a wilful presence thick with the effrontery of an encounter. I was fifteen years old at the time and had nothing to give. I was also angry at her for the way she treated us all during a difficult time in our lives. My parents were in the process of getting divorced and the old woman cast herself as the central character in the psychodrama, spitting rage and shame like a frying pan. In her mind, there were no such things as happy marriages – there were simply marriages. What everyone else called depression was, for her, simply living.

It’s been fifteen years since she left us. All but one of the copies of the memoir have been lost. The tapes too, in their bright orange covers, so incommensurable from their contents, haven’t been seen for a long time. I don’t even recall the last time I saw a tape recorder.

The great piano teacher Heinrich Neuhaus once wrote that for effective practice, all a student needed were their ears and a recording device, so that they might be able to listen back to themselves. Ears can indeed be great teachers. On the whole, they can be trusted. But ears can also be dead flesh, as capable of carnage or compliance as eyes or hands.

Two months ago I asked my mother if she still had her copy of the memoir. After rummaging around in a crawlspace at the back of her house, she found it in a storage box. Unwilling to part with the original, she photocopied the copy and sent it to me in the post. When it finally arrived, I laid it on my desk, unopened. It remained in that state for a fortnight, gathering power, obnoxious and strange, like an atom waiting to be observed. I tried to go about my usual work but all the while felt the old woman’s lips tracing my ear, all mucus and mesh, muttering imprecations about this or that, a blocked vacuum filter or a dirty tablecloth; felt a forefinger dipped in spit and cleaning stains off my cheek, the way she did when I was a kid.

When I was young, if I blurred my eyes at a poem or piece of music, I’d imagine I could hear what it wanted to say beyond the shallows of the world. I looked at her words without reading them and right away felt those liquorice lips moonlighting as a grimace, two little fleshy hands bearing the weight of human horror, two vituperative eyes swimming like carrion fish in a muddy puddle. So much could be discerned even from the letters themselves, as each line writhed to free itself from those above and below, the text not breathing but gasping. My body braced, the way my personal trainer has exhorted me to do with my core, even though every artist knows that the core exists not above the stomach but in the heart.

As with many Polish Jews of her generation, Nanna’s lack of education was inversely proportional to her practicality. The result was a certain reverse snobbery, for my grandmother regarded my father’s Western European side of the family to be fake Jews but real Europeans, insulated from real suffering. But this idea that one could only truly suffer in Buchenwald or Treblinka and not in an internment camp in Hay or a mental hospital in Darlinghurst was a lie, one that thrust me – the oldest grandchild – into tricky territory. I had neither strong legs nor a stocky physique, neither the ability to fix things nor carry myself like Ridge from Bold and the Beautiful. In my grandmother’s eyes, this made me one of them. Naturally all this changed when I became a famous musician. Before the war, her late husband, my grandfather, had been a fine amateur musician, though no one could say definitively which instrument he played – he blew it, he held it sideways – so with no thought at all for my previous assignation, I was heralded as one of us. My grandmother – in appreciating art primarily for its social cachet, for its power to make Mrs Schmendrick envious because her grandson still worked at Woolies was no artist, and in fact the capacity of art to do anything beyond mere show was incompatible with her personality. She once told me that she couldn’t understand how anyone could possibly love a dog who couldn’t do tricks. This sentiment captured something fundamental, even essential, to her personality. 

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Kurt Johnson reviews ‘Crimes against Nature: Capitalism and global heating’ by Jeff Sparrow
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There is a debate as long-running as climate change itself: can capitalism, with its demand for endless growth, be sustained on a planet with finite bounds and limited resources? Freemarketeers say yes. For them, the issue is not capitalism per se but an economic model that does not factor in the true cost of emissions. As a result, we the people and the planet are subsidising industries that pollute for free. The counterargument is based on simple intuition: How on earth can capitalism, the unstoppable force be contained inside the inelastic object? This has never received a convincing reply.

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There is a debate as long-running as climate change itself: can capitalism, with its demand for endless growth, be sustained on a planet with finite bounds and limited resources? Freemarketeers say yes. For them, the issue is not capitalism per se but an economic model that does not factor in the true cost of emissions. As a result, we the people and the planet are subsidising industries that pollute for free. The counterargument is based on simple intuition: How on earth can capitalism, the unstoppable force be contained inside the inelastic object? This has never received a convincing reply.

Read more: Kurt Johnson reviews ‘Crimes against Nature: Capitalism and global heating’ by Jeff Sparrow

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