For a man who was supposed to have a shot memory, Alan Bond has a remarkable power of recall. In the mid1990s, facing fraud charges concerning his dealings in Manet’s painting La Promenade, he – or rather, his barristers – successfully argued in court that a series of minor strokes had left him with brain damage and a memory so defective he couldn’t possibly be expected to answer prosecution questions. Those Australians who reckoned all along that he faked the forgetfulness, the shuffling gait, and the vacant stare at the television cameras outside court will doubtless be confirmed in their view that he’s a shameless liar.
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