UWA Publishing

The deeply troubled Francis Webb, a magician with language, is still one of the two or three most remarkable poets Australia has produced, if nation-states can be said to produce creative artists. His life proved dark and painful, wherever he was located, but he worshipped language, in parallel with his worship of the Christian trinity ...

Dorothy Hewett is a vivid presence in all her poetry. This selection from her life’s work opens with a poem written in her last year at school.

It is a great pity that Efraim Karsh could not have read Raimond Gaita’s new collection of essays before completing his own. The essays might have prompted him to reflect that the Israeli–Palestinian conflict is not nearly as straightforward as he would have us believe.

Emily Ballou’s first book of poems opens with a quotation from Coleridge’s Definitions of Poetry: ‘Poetry is not the proper antithesis to prose but to science. Poetry is opposed to science.’ A book of poems on the life of Charles Darwin must be a refutation of this idea, though I had expected a more direct return to the comment which, two hundred years after Coleridge wrote it, has accrued greater meaning. In Coleridge’s time, the dazzling and potentially alienating specialisation of the sciences had not occurred, and C.P. Snow had never hailed the ‘two cultures’. Anti-intellectualism had not yet colluded with postmodern suspicion of reason to decry the malign, hegemonic nature of Western science. Coleridge, like many educated men of his time, was conversant with the latest advances in most branches of the sciences. He enjoyed a close friendship with Humphry Davy, the foremost scientist of the day, who also wrote poetry.

Self-evidently, the short story demands precision. The term ‘short story’ more than likely brings to mind the magazine-length sprint or the rapidly delivered epiphany. John Updike was a master of this demanding form. In his Olinger and Tarbox tales, characters are assembled quickly and sent to their fate with little delay. Never cursory, this was writing performed under haiku-like restraint. In the short stories of Wendy James and Tom Cho, we are presented with similarly brief and precise tales of two different Australian landscapes: one as small as a kitchen, the other as capacious as an arena. Why She Loves Him is James’s first story collection after two well-received novels. For the most part, the stories are quiet and domestic affairs. Her characters are frequently repressed and restrained, filled with rage that is rarely given voice. If the short fiction of some novelists feels too constrained, James’s evocation of despair is perfectly suited to these short bursts.

Susan Varga’s latest novel, Headlong, is set in Australia in the opening years of the twenty-first century, with the Tampa episode and detention camps as background. This setting reflects Varga’s own work with refugees and the Nazi camps of her family’s Hungarian past. Headlong relates the downward spiral that the previously indomitable Julia undergoes after the death of her husband. Her two children – the narrator, Kati, and her brother – try everything to restore their mother to physical and mental health, but Julia is adamant: life is hell. The fact that she escaped the Holocaust with her daughter and survived the horror of those years makes the story all the more poignant and distinct from similar stories of grief. Why has this loss defeated her, when she has met every other challenge in life? Has it unlocked the hidden pain of earlier years? This question, and Kati’s ensuing grief and sense of guilt, sustain the novel.

Part historical murder mystery, part journey towards reconciliation, at the heart of Amanda Curtin’s novel, The Sinkings, is a figure whom we barely meet but whose existence is the key to this remarkable narrative.