Archive

A number of the poems in Lidija Cvetkovic’s first book stem from revisiting places and people in the war-torn country of her birth, the former Yugoslavia, but the poetry springs from an interrelated heritage. An Eastern European sensibility guides this poetry, informing and being informed by laconic Australian understanding. Poems that speak of ethnic and regional conflict, and of self, lovers and family in two continents, are woven into the same breath; and as the inexplicable in human experience is measured, a quiet celebration of human resilience can be heard.

The country south-west of the Gulf of Carpentaria, where wild rivers tumble from stony ramparts through coastal scrub plain to the sea, was one of the last places in Australia where settlement was attempted; more integrated with Asia to the north – thanks partly to the sojourning Macassans – than Melbourne or Sydney to the south, let alone London; a world where Aboriginal society was strong enough to resist dispossession, surviving, despite everything, to this day. It has also been something of a last frontier for historians.

The beauty of ‘chick lit’ is the discussion of sometimes quite painful, but always familiar scenarios surrounding love, life and happiness, in an open and self-deprecating way. Apparently, it doesn’t pay to take yourself too seriously when it comes to matters of the heart, and rightly so – why weep when you can have a good laugh? In The Catch, Marg Vandeleur’s first novel, the search for happiness is complicated by the plight of the woman whose sudden desire for a child is thwarted by a clutch of eggs past their prime and nary a bloke in sight. Social commentators, researchers, religious leaders and feminists have all put their oar in over the last year or so on this topic. Now it’s time for ‘chick lit’ to have its say.

‘If goods cannot cross frontiers, armies will.’ This prescient remark was made by the Western Australian politician Sir Hal Colebatch, well before the German and Japanese armies started their march in 1936. In a federation not lacking in strong state politicians – Thomas Playford, Henry Bolte, Don Dunstan, Joh Bjelke-Petersen, Charles Court and Jeff Kennett come to mind for the twentieth century – Colebatch (1872–1953) stands out by virtue of his interests and priorities. He is a reminder (and the eastern states often need reminding) that Western Australia has been from the start, and remains to some degree, another country.

Few Australian authors have been so prolific or so well-rewarded for their labours: twenty-six novels, as well as plays and a reluctant memoir; not to mention advances – in the 1960s – of hundreds of thousands of American dollars per book. How many of our writers have sold copies of their works in tens of millions, let alone been translated into twenty-seven languages at last count? None has been so prescient in his fiction, whether predicting papal succession, international terrorism, the quagmire of Vietnam, or another Arab–Israeli war. Yet the author of whom all this is more or less true is largely without critical honour in his own country. The author is Morris West (1916–99), who had the distinction of emulating Charles Dickens by dying at his desk with an unfinished manuscript before him. In West’s case, this was The Last Confession (2001), another of his attempts to understand the brave heretic and Renaissance martyr Giordano Bruno. Of Bruno, West wrote ‘the better I knew him, the more modern I found him’.

Australian folk memory of the Pacific War centres on specific events – the sinking of the Repulse and the Prince of Wales, the fall of Singapore, the bombing of Darwin – events overlaid by semi-mythical visions of an insomniac prime minister and his cable wars with Winston Churchill, and of epics of soldierly endurance on the Kokoda Trail. The horrors of the Thailand–Burma railway belong, in a sense, to the immediate postwar period, when the stories of liberated survivors penetrated the national consciousness. The horrifying images of emaciated men with gaunt faces and prominent ribs brand that generation and, to some extent, their children. In the diaries of Weary Dunlop and in Rohan Rivett’s Behind Bamboo (1946), the immediate postwar Australia was given a vivid picture of Japanese cruelty and Australian suffering.

I should read my email more carefully. Like many, I have to admonish myself thus at regular intervals, but it doesn’t always work. This review is a case in point. When invited to review a book on ‘sex and pleasure’, this request stood out from an unread e-mail queue that was uncomfortably long. I had just published a book myself on the history of sexuality (Histories of Sexuality: Antiquity to Sexual Revolution), so the topic had appeal, but, in my haste to reply, I neglected the qualifying phrase ‘in Western Culture’. To my horror, I opened Gail Hawkes’s book only to be confronted with an immediate ethical dilemma (and given my current role as Dean of an Arts Faculty, I could do without another one). Sex and Pleasure in Western Culture covers substantially the same ground as my book: from Ancient Greece to the present day. Even some of our chapter divisions overlapped: classical antiquity; early Christianity; the medieval era; the early modern period and so on. How could I approach a review in the dispassionate way this art requires, when troubled by insidious fears that this might be a better book?

Putting together a collection or anthology is not as easy as it looks. There are decisions to be made about theme, order and intent, which are often based on the intended audience. Three recent anthologies for children show that, in children’s literature at least, originality and diversity are achievable.