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Thomas Shapcott uses as a basis for his novel the fascinating life story of Karoly Pulszky, who left Hungary as the disgraced Director of the National Gallery of Art and who committed suicide after two months in Queensland. Pulszky, a forceful and flamboyant man, followed in the footsteps of his distinguished father in building up Hungary’s art collection. He was married to Emilia Markus, ‘The Blonde Wonder of Budapest, the Greatest Actress in Hungary’. Financial mismanagement enabled his family’s political enemies to bring him down and he left Hungary in shame. Years after his death, one of his two daughters, Romola, married Nijinsky, and she wrote extensively about her own colourful life. Shapcott draws on her writings with considerable skill.

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Greek and English, the Greek father and Australian mother, the child in the middle who looks at one object and sees different creatures – no catch-phrase like ‘culture conflict’ says much about what is happening in Ismini’s life at this moment. The story does, however, in the strong, unblinkered prose of Beverley Farmer as she writes with unfaltering sensitivity about Greece, about Australians in Greece and Greeks in Australia, and, painfully, about couples and the families who mix their cultures with their love and hate.

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During the 1970s, when Nation Review was a newspaper and the Labor Party was fair dinkum, this country spawned cartoonists like mushrooms in a paddock where cows have been defecating in a grand manner. The Vietnam war was on, but that didn’t stop the Melbourne Cup or the Grand Final, and it didn’t improve the economy as expected either.

We found lovely ways to get rid of some frightening chemical wastes, i.e., we tipped them on Asian forests: all the better to see you with.

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Brilliant Creatures is not so much a novel – a first novel, as the title page coyly points out – as it is a presentation pack. The text itself is bookended by an introduction at the front, and a set of extensive, very boring notes and index at the back. A set of notes and an index for a novel, a first novel? Yep. Clive James has heard of Nabokov and Pale Fire. He has also, as the four-page introduction makes clear, heard of his ‘illustrious ancestor Henry’: of Gide, Montaigne, Sterne, Peacock, Firbank, Trollope, Joyce, Shakespeare, and Nietzsche.

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Elizabeth Jolley has been around as a writer for some time. Her work dates back to the late 1950s (she came to Australia from England in 1959) and her stories began appearing in anthologies and journals in the mid­1960s, but it was not until 1976 that her first collection, Five Acre Virgin and other stories, was published by the Fremantle Arts Centre Press. Since then, her rate of publication has been phenomenal, and it is perhaps no accident that it coincided with the rise of an indigenous Western Australian Press: three of her first four books were published by the FACP, which, in its few years of existence, has been responsible for the discovery of a remarkable amount of talent.

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Christina Stead was born in Sydney on 17 July 1902 and died there on 31 March 1983. She spent the greater part of her life, including her most creative years, abroad – in England, Europe, and America. She left Australia for the first time in 1928, returning only once for a few months in 1969 before she decided in 1974 to spend her last years here. Although her novels were written away from Australia and most do not have Australian settings, she never ceased to think of herself as an Australian. Nationalism simply wasn’t an issue for her: she didn’t regard herself as an expatriate, she didn’t reject her homeland, but neither did she feel any compulsion to assert an Australian identity. She was perhaps the first Australian writer to be truly cosmopolitan.

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The World of Norman Lindsay edited by Lin Bloomfield & A Letter From Sydney edited by John Arnold

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October 1983, no. 55

The World of Norman Lindsay is compiled by Lin Bloomfield, proprietor of the Bloomfield Galleries in Paddington, NSW, and an authority on Lindsay’s work. It was first published more expensively in 1979. This elegant paperback will make it widely accessible, which is a matter for satisfaction. It contains comprehensive, short, expert articles about Lindsay’s life and achievements as an artist and the reminiscences of Lindsay’s children, grandchildren, models, friends, and colleagues. Good illustrations, some in colour, cover every era of his works in all their variety, and the book also includes photographs of people and places.

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It is difficult for a reviewer to do justice to this enchanting book. But if one were looking for something to give to an Australian to help him better understand the history, traditions, literature, environment, and folklore of his country – or if one wished to help a visitor to Australia to an appreciation of all those circumstances from 1788 to the present day which have shaped the characters and characteristics of those who inhabit this vast continent, then this book is it.

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In an authorial note Fay Zwicky describes her collection of stories as thematic rather than chronological.

They are all concerned more or less ironically, with the growth of a writer’s consciousness which may help to account for the varying degrees of stylistic density and the shifts in personae.

The first seven stories, the Helen Freeman sequence, offer a retrospective view of Helen’s struggle to establish a female identity in a world dominated by men and by masculine edicts and rituals. Taking a hint from the introductory note, these stories reflect, in essence, the stages in the author’s personal development from her youthful recollections of her family during and after the Second World War to her marriage and separation. It is arguable whether these stories should be treated as the discontinuous narrative of one life, though they can be read that way. They are not, however, an autobiography. 

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Teacher Learning edited by Gwyneth Dow & Melbourne Studies in Education 1982 edited by Stephen Murray-Smith

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October 1983, no. 55

Gwyneth Dow has edited a collection of essays that forms a relevant and coherent whole. The authors seek to salvage what they see as ‘the good things’ in education reform of the late sixties and early seventies, reform that had weaknesses which were the result of ‘faulty thinking, poor social analysis, romantic psychological theories, slip-shod pedagogy’. The contributors to this book are Rory Barnes, Gwyneth Dow, Rod Foster, Noel P. Gough, Bill Hannan, and Doug White. Gwyneth Dow points out they do not all share the same ideological positions, but they are clearly in fundamental agreement about curriculum reform, a more democratic approach to teaching and to the running of schools, and a more socially aware view of teaching and teacher education.

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