Hodder & Stoughton

There is a paradox in the title of this book, The Power of One, by Facebook whistleblower Frances Haugen. It is an accurate description on one level, because the powerful whistleblowing that led to demands for stronger regulation and accountability in Big Tech was indeed the courageous choice of a lone individual, the author, an American engineer and data scientist. But as the book underscores, Haugen’s whistleblowing was successful – in that it achieved impact and she has walked away relatively unscathed – because of the ecosystem that surrounded her. Lawyers, media advisers, journalists, politicians, and civil society helped her to speak up and then amplified her calls for change. The whistleblowing that Haugen documents might more accurately be described as the power of a community dedicated to ensuring that one voice reaches the minds of many. 

Ned Beauman’s latest novel – his first since Madness Is Better Than Defeat (2017) – marks something of a stylistic departure for the British writer. Where Beauman’s work has for the most part experimented with history and genre, Venomous Lumpsucker is set squarely in our collapsing planetary future. 

One of the dangers of academia is that ego interferes with the formation and sharing of knowledge. Colleagues are enemies, discussion is manipulation, subject matter is weaponised. British author James Cahill studied at Oxford and Cambridge, worked at a gallery in London, and recently joined King’s College London, but his first novel, Tiepolo Blue, is burdened with a feeling that these environments have few redeeming features. In a different tone, the novel could have been a satire, but if Cahill exposes his characters to ridicule, it is to make us recognise the sadness and loneliness behind the veneer of dignity. Cahill’s vision is tragic, not absurd. In Tiepolo Blue, love, for persons as much as for intellectual subjects, is stifled by power plays and abominable behaviour. Cahill’s academia is self-defeating because it poisons self-knowledge.

Henry Hitchings has written a number of well-received books on aspects of the English language, including Dr Johnson’s Dictionary: The Extraordinary Story of the Book That Defined the World (2005) and The Secret Life of Words: How English Became English (2008), which focuses on the numerous borrowings that English has made from other languages.

It was the first game for the season in some halcyon year of my cricketing past. We’d scraped together a team, but the other mob was rumoured to be a couple short. Their first three batsmen were competent enough and made a few. Then a collapse brought number eight to the wicket. Impeccably clad, he was one of those blokes who puts his gloves on after taking guard and then spends minutes surveying the field, pointing to each position with his bat, as if burning them into his tactical memory. At last he faced his first ball, which went straight through him and took the middle and off stumps out of the ground. ‘Bad luck, mate,’ said one of our blokes, with a kindness the ensuing months would erode. ‘First knock for the season, eh?’ The beautifully attired number eight looked at him in astonishment. ‘First knock ever,’ he said.

People often assume that actors and performers are extroverts, and that their work is a natural extension of an outgoing personality. But while, indeed, there are quite a few extroverts in the business, many who work in the performing arts are more likely to be introverts, for whom communicating with an audience is a form of expression that gives meaning to their lives.

Comedy, Angela Carter once quipped, is tragedy that happens to other people. Laughter is both an expression of our hard-bitten knowledge of the random cruelty of a universe that stubbornly resists our attempts to control it and an act of defiance in the face of that cruelty. Or, to put it in simpler terms, if you didn’t laugh, you’d cry.

In the last week of June, after a period in the doldrums, the News Corporation share price suddenly took wing again. Buyers piled in. A lazy few hundred million dollars were added to the company’s value. The basis of the revaluation? Apparently, Rupert Murdoch himself had descended from Olympus to participate in a presentation to sharebrokers in Sydney. Enraptured at this visitation, analysts had upped their profit projections for News.

Dawn Fraser had a hundred or so pages of fair prose in her and she put them in this book, her autobiography. The trouble is that the book is 400 pages long. But that’s not a bad result. If a David Malouf or Helen Garner lined up for an Olympic swimming final, you’d expect them to sink.

All too few books about Australian children’s writers and writing manage to find a publisher. They’re unlikely to sell enough copies, is the standard explanation. All the more reason, therefore, to welcome an even greater rarity – a book which focuses on the work of a single writer. Even if Gary Crew might not necessarily be everyone’s first choice as the subject of such a volume, all those interested in Australian children’s literature will hope that Strange Journeys meets with a success which will encourage the publication of similar analyses of other contemporary writers’ work.