Peter Pierce

Not long after he began to spend extended periods on the island, English novelist Nicolas Shakespeare wrote In Tasmania (2004), a spirited account of some of the things that he had seen and been told there. This was a rambling book, whose intention seemed unresolved. With his fifth novel, Secrets of the Sea, Shakespeare has made Tasmania his setting again. Manifold details are refined for the story, with more assurance than in the earlier book. Impressively, Shakespeare has created an unfamiliar place, alert to caricatures of itself, but much stranger. At the same time, his Tasmania seems to belong more to England than ever used to be said, and to the fictional realms of Thomas Hardy and D.H. Lawrence.

In her fourteenth novel, in a career that began in 1980 with Fortress, Gabrielle Lord returns to the series of books that feature the troubled and trouble-attracting private investigator, Gemma Lincoln. Shattered, the fourth in the series, is the most densely and effectively plotted of them. Gathered here are key people from earlier novels: Gemma’s lover, the undercover policeman Steve Brannigan; her best friend, Sergeant Angie McDonald; a former street kid called the Ratbag; Gemma’s sometime colleague Mike Moody. Still shadowing Gemma’s life are the memories of the murder of her mother and, much later, her successful but nearly fatal efforts to clear her father of that crime.

In September 1943, seventeen commandos of Z Special Force, led by Lieutenant Commander Ivan Lyon, attacked and sank with limpet mines seven ships in the Singapore harbour. A year later, in October 1944, when the Pacific War had only months to run, a repeat performance failed and all those involved were ...

When it was first published, Tasmanian army nurse and prisoner of war Jessie Simons entitled her memoir of captivity While History Passed (1954). It was reissued as In Japanese Hands (1985). This was one of the numerous autobiographical works produced after their ordeal by POW survivors, whether they were driven by an enduring hatred of their captors (Rohan Rivett, Russell Braddon) or by a striving for forgiveness (Ray Parkin). In his study of ‘Literary imagination and the prisoner-of-war experience’, Roger Bourke has turned instead to what he regards as the neglected area of fiction (sometimes autobiographically tinged) of captivity by the Japanese in World War II. His range encompasses British as well as Australian authors. He is particularly concerned with what the film industry made of such novels as Neville Shute’s A Town Like Alice (book 1950, film 1956), Pierre Boulle’s The Bridge on the River Kwai (1954, 1957), James Clavell’s King Rat (1962, 1965) and J.G. Ballard’s Empire of the Sun (1984, 1987).

For a while it seemed that the reign of the saga novel, a form once so vital for narrating and propagandising the Australian past, was over. The pugnacious Xavier Herbert was now a wandering shade; Colleen McCullough had removed herself to Norfolk Island; Eleanor Dark and ‘M. Barnard Eldershaw’ belonged to a literary history known to too few. The saga had ceded its cultural place to the television miniseries. That summation held until very recently. Billy’s Tree, Nicholas Kyriacos’s first novel (a creative component of a Doctorate of Creative Arts, although it appears too unguarded to have come from that treadmill), bravely seeks to reinstate not only the saga form but its language and its valuation of what ought to matter to Australians who are alert to the burdens of their history.

The central contention of Kim Torney’s Babes in the Bush: The making of an Australian image is that ‘the lost-child image continues to resonate with Australians’. The cover illustration is from Frederick McCubbin’s famous painting Lost (1886), which Torney elevates to ‘the iconic image of the lost child story’. The task set out in these assertions, and iterations of them, is to find why the image continues to resonate in Australia now that the phenomenon of children lost in the bush is such a rarity, compared with the nineteenth century. (Torney quotes the alarming statistic from the Melbourne Argus index for the 1860s of seventy children fatally lost in the bush.)

In earlier works, Russian-born historian Elena Govor has written of changing Russian perceptions of Australia between 1770 and 1919 and – in My Dark Brother (2000) – of a Russian-Aboriginal family. In her latest book, Russian Anzacs in Australian History, the canvas is broader. She investigates the third largest national group (after the British and Irish) to enlist in the First AIF. Her indefatigable and imaginative research has taken her on a ‘quest for the thousand Russian Anzacs’ who comprised ‘a virtual battalion’. More exactly, they amounted to one in every four male Russians who were in Australia at the outbreak of the Great War.

Early in 1900, bubonic plague travelled by ship to Sydney, then erratically made its way up the coast. Ian Townsend’s accomplished first novel, Affection, traces the arrival of the plague in Townsville during the autumn of 1900. His story is factually based and is particularly concerned with three of the doctors who treated the outbreak: Linford Row, recently settled in the town as its municipal medical officer; long-term resident Ernest Humphry; and the English bacteriologist and butterfly collector Alfred Jefferis Turner. How they cope, not only with horrible and random deaths, but with politics and prejudice in North Queensland, is the dramatic core of the book.

Few Australian authors have been so prolific or so well-rewarded for their labours: twenty-six novels, as well as plays and a reluctant memoir; not to mention advances – in the 1960s – of hundreds of thousands of American dollars per book. How many of our writers have sold copies of their works in tens of millions, let alone been translated into twenty-seven languages at last count? None has been so prescient in his fiction, whether predicting papal succession, international terrorism, the quagmire of Vietnam, or another Arab–Israeli war. Yet the author of whom all this is more or less true is largely without critical honour in his own country. The author is Morris West (1916–99), who had the distinction of emulating Charles Dickens by dying at his desk with an unfinished manuscript before him. In West’s case, this was The Last Confession (2001), another of his attempts to understand the brave heretic and Renaissance martyr Giordano Bruno. Of Bruno, West wrote ‘the better I knew him, the more modern I found him’.

Note especially the last word in the subtitle – ‘travel’. This book is not, or not chiefly, about strategy and battles. It is about getting to the war, or passing through an operational area and (with luck) getting home again; it is about visiting war cemeteries, battlefields and memorials, or revisiting them, sometimes decades later.

You may think this a wispy and slender thread upon which to string 350 pages of book. I thought so myself when I picked it up, and the misgiving recurred several times during the perusal. (Since a peacetime visit to Auschwitz is neither military nor Australian, Lily Brett’s piece seemed to have strayed in by mistake.) But the thread held – just – and I am grateful to the editors for teaching me much that I didn’t know, or had not understood.