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There is every reason to admire this novel’s intent, but with the best will in the world I couldn’t recommend the result. Linda Jaivin’s current affairs comedy about the Villawood Detention Centre is so conscious of its pedagogic goals that it fails to offer a decent story. And it’s not funny. Believe me, I wanted to like it. Jaivin is a terrific writer with an enviable range, capable of the witty, surrealist smut of Eat Me (1995) and the kind of nuanced cross-cultural analysis that underpinned The Monkey and the Dragon (2001), her undervalued biography of Chinese rock’n’roll dissident Hou Dejian.

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Steven Lang has a fine sense of the Australian vernacular and creates believable characters. This novel forges a new genre (maybe it’s just new to me): the environmental thriller. Protagonist Kelvin was a street kid and rent-boy in Kings Cross. Now twenty-one and beautiful, he fetches up, after years of aimless drifting and casual work in remote locations, in his home town of Eden, which he fled eight years before. He joins the labourers setting up a commercial pine plantation after the area has been clear-felled, but then becomes involved with a group of hippies who live on a commune – ‘the farm’. Here he falls easily into a sexual relationship with Jessica, an environmental activist and writer. She is older, educated and politically sophisticated, in a way that engages Kelvin’s imagination but compels him to hide his past.

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Phosphorescence by Graeme Miles & Peeling Apples by Tessa Morris-Suzuki

by
May 2006, no. 281

The title of Nick Riemer’s first volume of poems is taken from a piece of graffiti in a Sydney church, and the poems therein are aptly replete with a peripatetic, contemporary metaphysical wit. The volume as a whole has a sharp, cultivated air of philosophical enquiry, tending to nihilism, and is shot through with the poet’s continuous testing of the limits of language.

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What works you did will be yourself when you
Have left the present, just as everything
The past passed to the present must become
A terrible unstoppable one blend
Of being there (the world) and not to be
(The Self). Grow old along with me, the best
Is bet to be – the worst (of course) lack(s) all
Conviction, as the poet mistranscribed,
Storming a grave to satisfy his pride.
They love me, all my words, despite how often
I made fools of them, betrayed them, begged
Forgiveness of them. They are like the million grubs
Which swarm around their Queen. I file them in
Wide boxes where they wait their Master’s Voice,
Accusing and defending. A letter plans
To burst in sullen flame, its heat conserved
By what was written once – but chiefly silence
Triumphs under missing banners – death
Will be the one unmentionable
Impossibility. What happened lives
Parenthetically and privately.

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The name of Sir John Wilton would be unknown to the vast majority of the Australian public, to the defence community as a whole, and even, I suspect, to many of those now in the army. Such is the transitory nature of military prestige. David Horner’s biographical study seeks to correct this, and to explain the centrality of Wilton’s career to the development of Australian defence policy and operational deployment in the postwar period. This is more than a biography: while Wilton the man is not neglected, the emphasis is rather more on Wilton the professional, steadily climbing through the officer ranks in a series of appointments that culminated in his tenure as Chairman of the Chiefs of Staff Committee from 1966 to 1970.

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The Fluid State: International Law and National Legal Systems edited by Hilary Charlesworth, Madelaine Chiam, Devika Hovell, George Williams

by
May 2006, no. 281

What role should international law play in the domestic legal sphere? The author of the Institutes of Justinian stated that ‘[e]very community governed by laws and customs uses partly its own law, partly laws common to all mankind’. Nevertheless, a certain view propounds that international law is an unstable or subversive intrusion into the processes of democratic sovereignty and the pedigree of national law. Such a stance, while persistent, denies social fact; the reach of international legal regulation is unprecedented and national bureaucracies increasingly operate beyond state boundaries. Such is the reality of the ‘Fluid State’ which, the editors of this volume suggest, will alter orthodox understandings of the interrelationship between international and national law.

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Mia Couto’s most recent novel (translated into English in 2004) begins with a ‘large organ on the loose’: a severed penis, like a ‘fleshy hyphen’, is discovered lying on a road in the Mozambican village of Tizangara. It seems that another UN soldier has exploded, for in a nearby tree is a telltale blue helmet. A delegation of Mozambican and UN officials descends on Tizangara, and an Italian, Massimo Risi, is left behind to find out why six UN soldiers have been “eclipsed” and who is responsible. The Last Flight of the Flamingo (first published in Portuguese as O ultimo voo do flamingo in 2000) is Couto’s most successful attempt yet to incorporate the animistic traditions of Mozambican culture into a European fictional framework. It is funny, mercilessly satirical and unmistakably African.

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ADB replies to Paul Brunton

Dear Editor,

Paul Brunton has written of the quotas used in the selection of subjects for inclusion in the Australian Dictionary of Biography in a review (ABR, February 2006) headed ‘Mysterious quotas’, and in a follow-up letter (ABR, April 2006).

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This is an auspicious time to reissue a book by a Cypriot-Australian in a bilingual edition. Awareness of Cyprus in Australia, and of Australia in Cyprus, is at unprecedented levels following the spectacular performance in the 2006 Australian Open Tennis Championship of both Marcos Baghdatis and his colourful crowd of supporters from the Cypriot subset of the Melbourne Greek community. Bilingual (even trilingual) editions are the hallmark of Owl Publishing, but this fifteenth volume in its ‘Writing the Greek Diaspora’ series represents a new departure in its inclusion of high-resolution artwork: section four of the collection comprises sixteen photomontages, mostly statuesque combinations of objects and body parts.

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