Morag Fraser
Morag Fraser was Chairperson of ABR and was for many years Editor of Eureka Street. She is currently writing a biography of the poet Peter Porter.
A writer leaves you with everything to say. It is in the nature of his medium to start a conversation within you that will not stop until your death …
Conversation is the raison d’être of this monumental monologue. But you might not think so if you read only the reviews. Splenetic, greensick criticism – and there has been plenty of it – insists that what Clive James has built out of ... (read more)
You can’t escape the black square with the ominous slit: it’s about as familiar and inevitable in Australia as the icon for male or female. Ned’s iron mask now directs you to the National Library’s website of Australian images. There it is, black on red ochre, an importunate camera, staring back as we look through it. It’s modernist, postmodernist, merged into desert art just as surely a ... (read more)
The poet James McAuley once told a group of Sydney university students – ‘forcefully’, as Geoffrey Lehmann recalls – that poets should have a career unconnected with literature. Lehmann had already imbibed a related injunction from his mother: ‘One day she told me I should become a lawyer and a writer. From the age of twelve I no longer had to think about what I would become.’
... (read more)
Dark Victory opens with a coup: in a deep-etched narrative, joint – and seamless – authors David Marr and Marian Wilkinson make human beings out of the anonymous acronyms of John Howard’s border protection strategy. Explicitly rejecting the gulag language of numbers, of SUNCs in SIEVs (Suspected Unauthorised Non-Citizens in Suspected Illegal Entry Vessels), they begin with people – stirrin ... (read more)
On 6 March 1948 – a mere seventy years ago – the paintings that comprise this stellar exhibition of ‘Modern Art’ from St Petersburg’s great cultural repository, the State Hermitage Museum, were condemned in a decree by the Council of Ministers of the USSR as ‘the bourgeois art of Western Europe, bereft of ideas, anti-national, formalist, and of no interest for the progressive education ... (read more)
‘People who don’t like tunes don’t like Berlioz.’ Thus, the late Colin Davis, famed English conductor and Berlioz exponent, said in 2007 about L’Enfance du Christ. Davis, in his wry, gently combative English way, and with a burnished reputation behind him, didn’t have to care about musical fashion or despised tunes: ‘That doesn’t make any difference to me. I love them.’
And so, ... (read more)
At a recent Passover Seder in Melbourne, I caught the word ‘Gilead’. ‘My favourite book!’ exclaimed the woman opposite me. I was a Catholic guest at a gracious Jewish table, so I whispered my query: ‘Marilynne Robinson’s novel?’ ‘Of course!’ came the emphatic reply. The Seder ritual was suspended for a moment (informality was part of the evening’s graciousness) while people ask ... (read more)
Edward Elgar’s great work of poetic soul-scouring and symphonic grandeur had a mired reception at its première in Birmingham in 1900, years before Stravinsky’s Rite of Spring sparked its famous riot in Paris in 1913. Both composers had stretched the tolerance of their audiences, requiring open minds and an ear for new tonalities. Elgar had the additional misfortune of an insufficiently prepar ... (read more)
One of France’s great treasures, the five-hundred-year-old, six-panel tapestry series called The Lady and the Unicorn, is in Australia for four months, courtesy of some fortuitous inter-museum contacts, and deft work by the Art Gallery of New South. A loan of such significance usually takes years to negotiate. This one was finalised and mounted at warp speed (one might say). Don’t miss it; it ... (read more)