Archive

One story about a young disaffected male, and another about a sacrificial female, typify the extremes of the range of material currently being published for young people. Straggler’s Reef, for the younger end of the readership, is a conventional story of the past intersecting with the present to resolve events in both time frames. Karri, her brother Jarrad, and their father are sailing off the coast of Western Australia when a squall lands them on a reef. Karri has her grandmother’s recently completed family history to occupy her. The recount of events in the 1840s is engrossing and evocative, and made this reader long for a straight historical novel.

Peter Porter first came to prominence nearly forty years ago as an ironic, tough, rather dandyish poet who wore his Australian expatriatism with a flair and who kept his poetic distance on a London which enthralled and appalled him. He came out with striking lines like ‘I am only the image I can force upon the town’ – all glitter and brittleness – but he was also the kind of poet who could produce the sort of set pieces which seemed to sum up the world of a London which was swinging almost as if it was on a gibbet: ‘All the boys are howling to take the girls to bed’ is the promising opening of ‘John Marston Advises Anger’ which evokes with, yes, sub-Jacobean panache, a time and a place intimately known but still half strange and riddled with the glamour of the stage set, the rhetoric of the nothingness of where it’s at.

Last year I took my twelve-year-old daughter to see Lake Mungo. We talked all morning about ancient lakes and Aboriginal camp sites but looking at the saltbush she could not make the jump. Standing on the lunette, her keen eyes picked out a tiny crenulated piece of bone amongst the drift sand. Less than ten millimetres long it was a fish otolith, part of the bony structure of the inner ear, its shape characteristic of golden perch. Puzzled she looked around at the dry plain and started to ask, ‘How did a fish get way out here?’. Watching her eyes, I saw the flash of understanding: an ancient lake full of water snapped into focus. The tiny otolith was tangible evidence of past environments no book could match. But to grasp the past imaginatively and intellectually you need to visit the sites and learn to read the landscapes. This is part of the reason I like the latest edition of The Riches of Ancient Australia, Josephine Flood’s field guide to prehistoric Australia. It encourages people to get out and look around.

An unnamed visitor and note taker wanders present day Paris in Antoni Jach’s new novel, researching something about the city’s ‘many layers’. This amorphous and arduous quest brings him to a certain library where, while he is waiting for a book on aboveground Paris to be retrieved, a spirited American woman tries to draw him out on his work and why he’s in Paris. He airily responds that his interest lies not only in the city’s underground layers but ‘the buildings and the ether’. He’s remote and strangely earnest yet she’s keen to meet him again, whereas he ‘feels like a barbarian’ in her company and is too neurotically preoccupied with some other kind of engage­ment, an exchange with history, to flirt.

Despite the differences in style, careful logic seems to me to be the prevalent characteristic of both these accomplished poetry collections. Hard-won logic, too. In each, we are made aware often of the processes of achieving intellectual and emotional assessment and balance. As the titles indicate, poem after poem vividly accumulates details to settle on a succinct but more distanced and distancing overview.

In November 1998, the Governor General, Sir William Deane, found himself in the centre of a storm over the commemoration of Australia’s Aboriginal dead. Launching historian Ken Inglis’s Sacred Places: War Memorials in the Australian Landscape, Sir William remarked that in a country of more than 4,000 memorials there were none, at least of an official kind, to the Aborigines who had been slaughtered in the ‘Black Wars’ of the colonial period.

In the hierarchy of celebrity, there is one group of people constantly referred to with a casual, first-name intimacy. The ‘I don’t get out of bed for less than $10,000 a day’ brigade, the supermodels. Linda and Naomi, Christy and Kate. It’s not that we know anything about them as individuals, nor that they seem any more approachable than any other kind of late twentieth century celebrity. It’s the brand-name simplicity of their fame , the instantly recognisable qualities they incarnate. Recognisable at a glance, they are trademarks, bestowing their signature style on garments, products, publications, and boyfriends.

What do women want and how can they get it? These questions were at the heart of second wave feminism. The Women’s Power Handbook focuses on the second of these queries. The idea for the book was born when Moira Rayner and Joan Kirner met touring Victoria with Naomi Wolfe. On their travels they were struck by the questions that young women asked. Most of these related to practical issues about power. How to get it and, more important, how to use it without compromising integrity. According to the authors, no feminist tracts were providing young women with the answers that they needed, and this is what they set out to do in The Women’s Power Handbook.

As with the dozen or so collections of Geoff Page’s poetry that have preceded it over almost thirty years, Collateral Damage can be opened at random with the certainty that something impressive will be there. One of the most striking characteristics of his published work is its consistent high quality.

On a day which began with Eve finding her children ‘half naked and purple with cold … crying on their bed’, she was visited by a detective. He was there to ask questions because ‘La Gauss’, the old woman who let rooms to the family, had accused Eve’s husband of stealing. Langley let him know that she wrote everything down, including all of La Gauss’s lies, and that she would one day make a book of it. He is surprised that she could write of her life in these parts, and waves ‘his hand toward the ferns and gorse on the hill outside’. Eve replied, ‘The tragedy of life down here would amaze you. I have everything down sympathetically, and someday it shall be published.’