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This book, says Geoff Page in his introduction, should ‘cheer up those who are prone to lament the passing of “form” from contemporary poetry’. Speaking as one who does employ the f-word now and again, I’m very glad to hear it, though I catch the note of sardonicism and think that Page rather misses the point when he writes, again a little satirically, that some ‘may complain that fourteen lines “do not a sonnet always make”‘. I, for one, am more likely to complain that a poem of roughly sonnet proportions ‘does not a decent poem make’; the sonnet (I’d say) is a means, not an end. Apart from the obvious cases of ‘straitjacketing’, of forcing a form upon such content as may be naturally resistant to it, there is the fact that too smooth a rehashing of forms is one of the things – just think of Kipling – that announces a poet as irretrievably minor. Take the Shakespearean sonnet, for example: in poets of only moderate skill, its closing couplet will tend to betray a cluck of self-congratulation.

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The Cambridge Handbook of Social Sciences in Australia edited by Ian McAllister, Steve Dowrick and Riaz Hassan

by
November 2003, no. 256

This handsome volume purports to be an ‘overview of the current state of social-science research about Australia at the beginning of the twenty-first century’. Its editors have assembled a broad, if less than representative, group of specialists, most of whom comment on aspects of one of three fields declared, by editorial fiat, to constitute contemporary social science: economics, political science, and sociology. While acknowledging the immense diversity in the social sciences, the editors briskly assert that ‘the majority of universities in the advanced societies and the majority of the academic staff who work within them, are organised around, and identify themselves by [these] disciplinary labels’.

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It is difficult for non-Aboriginal novelists to deal adequately with Aboriginal experience in their work. There are many reasons for this, not the least of which is general ignorance about Aboriginal experience. But another, more insidious, reason is self-censorship. The politics of speaking in an Aboriginal voice, if you’re not Aboriginal, is at best fraught and at worst a nightmare. Thinking twice before embarking on such an ‘adventure’ is no bad thing, a counter-balance, perhaps, to the days when it was all too easy to usurp an indigenous point of view, days of racist triumphalism or paternalist do-goodism.

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One of the phrases used by the Swedish Academy to describe J.M. Coetzee, winner of this year’s Nobel Prize in Literature, is ‘scrupulous doubter’. In his novels, memoirs, essays, lectures and academic criticism, Coetzee conveys the uncertainty and complexity of lived experience with extraordinary precision and, sometimes, with a clarity that is almost unbearable. Coetzee’s work is triumphant confirmation of the allegiance owed by literature to nothing except the truth of the human condition. His art succeeds despite, or rather because of, the fact that it is so alive to all the problems of form and content standing in its way. His prose communicates difficulty, dissonance and doubt without itself being any of these things.

In his Letters to a Young Novelist, Mario Vargas Llosa writes that ‘the defining characteristic of the literary vocation may be that those who possess it experience the exercise of their craft as its own best reward, much superior to anything they might gain from the fruits of their labours’. Coetzee himself has written that the ‘feel of writing fiction is one of freedom, of irresponsibility, or better, of responsibility toward something that has not emerged, that lies somewhere down the end of the road’.

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The other day, in a stairwell within the National Library of Australia, I opened a door, expecting it to lead to a corridor and a suite of offices. Instead, I found myself inside a dimly lit room filled with rows of book-laden shelves. As I looked for the exit, I saw a man removing a book from the bottom shelf. Another man walked past me carrying books and said hello. It was like a scene from Being John Malkovich, surreal and delightful, and it characterises my last few months at the National Library, where I have been curating a two-part exhibition, In a New Light: Australian Photography 1850s–2000 (the first part, which deals with the processes of colonisation, opened on 9 October 2003 and will close on 26 January 2004, and the second, focusing on modern life, will open next August).

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About a decade ago, I picked up a book because I liked the cover: bleak street, stark buildings, empty sky, a robed man, his back turned, in the distance; in the foreground, a woman in a burka looking to the left at something we can’t see. When the blurb promised me ‘a Middle Eastern Turn of the Screw, with an insidious power to grip’, I bought it. It gripped. In fact, it scared the living bejesus out of me. That was my introduction to Hilary Mantel’s writings. Since then, I have read nearly everything she has published.

Eight Months on Ghazzah Street (1988) is about a sensible young couple who, after years of humanitarian work in Africa, decide to go to Saudi Arabia to repair their fortunes. The husband will work on a seductively extravagant building project; the wife will read, write and relax in their pleasant, if mildly claustrophobic, apartment. Then small things begin to go wrong.

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Adib Khan’s fourth novel mirrors many of the concerns of his second, Solitude of Illusions (1997). Like Khalid in that novel, Martin Godwin in Homecoming looks back over a life that could have been better lived and a moral trajectory that has long since been deflected by one key event. Martin reflects on what could have been different and is tortured by what he sees as his own hypocrisy and cowardice. These attitudes to the past have repercussions for the future as his relationship with his son, again like Khalid’s, is characterised by guilt and misunderstanding. More broadly – and this is a feature of all Khan’s novels – there is a crucial disconnection between the older generation’s way of doing things and the ways of the next. This structure of present guilt and past actions (and inaction) results in novels that shuttle, sometimes a little awkwardly, between flashbacks and the present.

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Indonesia is a difficult place to write about, because of its inherent complexity and the contested views that surround it. And then there is the sheer time that it takes to get to know the place, or at least to begin to know it, or parts of it. No one book can definitively come to terms with Indonesia’s scattered geography and dozens of cultures, its aliran (streams of influence), religious factions, social strata, degrees of development and competing interests. For these reasons, few authors or even edited collections try their hand at Indonesia as such, usually preferring to focus on an aspect of its vast and fragmentary complexity. This has been particularly so in the post-Suharto period, not least with the plethora of edited volumes that have sought to explain rapidly changing events there.

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This is a fascinating, inspiring and disquieting book. It is fascinating because it succeeds so well in its comprehensive overview of policy making and policy intentions during the Hawke government (1983–91). That success derives from the unparalleled mix of insiders (former ministers, public servants, leaders of unions and NGOs), journalists and academic analysts, though the voice that is notably absent is that of business. Inspiration comes when one can see, beyond the obsession with pragmatism and economic reform, glimpses of a genuine ‘third way’ in the development of social capital. Disquiet arises because so many of the contributors fail to see how they created the social malaise that dogged the final years of the Labor government, and how, in abandoning the ‘old’ ideologies, they prepared the ground for the profoundly ideological and destructive government that would follow.

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Michael Pusey coined the term ‘economic rationalism’ in 1991 to refer to the narrow economic focus of many senior public servants in Canberra. These influential advisers were mostly classically trained economists who saw their task as being to assist in creating a more efficient and productive society by privatising publicly owned utilities and services, giving greater rein to market forces, increasing competition, deregulating the labour market, and so on. But like every major political programme, economic rationalism has had, and continues to have, great social costs. John Wright’s book is primarily a moral evaluation of this programme.

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