Archive

Does the title of this anthology, heralded by its editors as the first collection of Australian gay/lesbian/queer poetry, refer to the myth of Pandora’s pithos? Hesiod’s version of the story, which sees Pandora as the unleasher of all manner of evils on the (‘rational’/patriarchal) world, has been interrogated by feminist scholars who see Pandora in an older incarnation of ‘gift-giver’, bestower of plenitude, crosser of boundaries. Or does ‘Out of the Box’ have a more colloquial sense – ‘exceptional’, ‘surprising’? Whatever the reasoning behind the title, Michael Farrell and Jill Jones have made choices which should provoke debate (among other things) about gay and lesbian identity and community, and about the relationship between poet and reader.

For many undergraduate students of Australian history in the 1960s (when there were still plenty of them), the set text was not a narrative history but Manning Clark’s Select Documents in Australian History (1950, 1955). Dry but fascinating, the documents covered the period from 1788–1900. First published more than a decade before the opening volume of Clark’s A History of Australia, here were the bones of the research for that work. In his introduction to Documents That Shaped Australia: Records of a Nation’s Heritage, John Thompson acknowledges Clark and Frank Crowley’s Modern Australia in Documents (1973). He has, however, done something different. This book has a smaller number of items than its predecessors, but it is attractively and extensively illustrated (usually, but not always, with photographs of the documents). No doubt Thompson’s publisher, Pier 9, thought of school library sales for the book. It is a hope that deserves to be rewarded.

From its opening line – ‘It had been a shit of a day for Sister Annunciata and Sister Clavie’ – Marie Munkara’s collection of stories about life on an island mission in northern Australia is a raw, hilarious and penetrating chronicle. The two nuns stare at the sky waiting for the bishop. His plane overshoots the airstrip and lands with a ‘resounding crump’. It is as if the bishop – ‘his Most Handsome and his Most Distinguished’ or ‘his Most Sleazy’, depending on which nun you ask – represents wave after wave of invasion. Apart from God and His earthly representatives, the islanders over the years also confront an anthropologist, Indonesians, a naked French couple, Spanish workers, marijuana, rum, the flu and even John Wayne.

It is a critical truism, if not a cliché, that poetry estranges: it makes things strange, so that we can see the world and ourselves afresh. Defamiliarisation, the uncanny, even metaphor, are all fundamental to poetry’s estranging power. Unsurprisingly, madness, vision and love have also long been poetry’s intimates, each involving the radical reformation – or deformation – of ‘normal’ ways of seeing the world. One might describe poetry as surprisingly antisocial, since poets have from ancient times been associated with social isolation, distance or elevation, as well as with madness.

There are a number of strands at play in this curiously titled novel set in postwar London in the Coronation year, 1953. The well-to-do Mrs Harriet Wallis, convicted of the murder of her husband, Cecil, becomes the second-last woman in England to be hanged. The last woman to be executed for murder in England was Ruth Ellis, about whom Mike Newell made the film Dance with a Stranger (1985), with Miranda Richardson as Ellis.

A quiet revolution has been occurring within the humanities over the last decade: the emergence into mainstream scholarship of new methods and approaches that exploit digital tools, electronic infrastructures, networks of data resources and the sheer computational power of modern technology. This renaissance builds on decades of pioneering work – well before its time and largely unacknowledged – performed by committed visionaries who perceived the possibilities for textual scholarship years before desktop computers and the Internet enabled the rest of us to see how our research could be informed, assisted, extended and even revolutionised by new technologies.

Lost children appear (or disappear) everywhere in literature and film: in Alice Sebold’s The Lovely Bones (2002) and Clint Eastwood’s Changeling (2008). Wendy James’s new novel, Where Have You Been?, concerns a lost teenager, and Carmel Bird’s Child of the Twilight (which I reviewed in last month’s ABR) explores the mythic status of the lost child. However, Stephen Orr’s novel Time’s Long Ruin goes to the harrowing core of one of the most disturbing mysteries in twentieth-century Australia – the disappearance of the Beaumont children.