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The jacket painting on Bruce Beaver’s highly wrought little book of prose poems is Lloyd Rees’ ‘The Coast near Klama’. It’s an elevated view of virgin green and dun coloured headland, the ochres rising through. Sea swirls into an oysterish bay. There is one distant figure looking down on another distant figure in a rock pool below. The sky, as with so many Rees skies, is egg-shelly yellow near the horizon, a glowing compliment to the taste we form and hold of earth.

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As artists get older, they are supposed to mature, and commentators begin to look for the demarcations of their three periods, a nice bequest from Beethoven. One vitiating side effect of this is to misplace freshness in their art. Judging the vital middle period works, and bowing before the sublimity of the late, the critic bestows a nostalgic glance over his shoulder to the early output – ah, what freshness, what morning glory there! It may be true of Beethoven, but the experience of most of us lesser creatures is more often the opposite. We start a bit grey and elderly: only later, after much experience, do we throw off ponderousness, embrace wit and light-spiritedness and appear verdant for the public gaze. I hope Chris Wallace-Crabbe will not object to my including him in this (to me) honourable company: those who write, after thirty years on the job, with twice the élan they had at the beginning.

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In ‘Partying on Parquet’, the story from Vernacular Dreams chosen by Don Anderson for inclusion in Transgressions, the hapless Steve attempts to hold a party for his HSC tutor Penny. The party is split into two small groups: Penny and her ‘uni friends’ Jan and Greg, and Marina and Pavlos, ‘dumb ethnics like himself whom he had met at Greek dancing class’. Naturally everything goes wrong, from the loudness of heels on the parquet floor to the botched lunge at Penny in the kitchen. But this is not just a simple story of humiliation. Steve is depicted at the end standing under the shower moving from resolutions (‘As for Greg and Jan, the only way he would ever be able to get on top of smart arses like them was to beat them at their own game,’) to what might be called ‘shower dreams’: ‘The steam had got so thick, he could hardly see a thing. He stared up at the ceiling. It was hanging there like a mist, a fog, with the light shining through; and it as his for as long as he wanted.’ ... (read more)

The Australian Stage represents an interesting intersection between the academic world and the creative arts, between the long perspective of the historian, and the ephemerality of theatre performances. Its methodology is academic; it proceeds from an examination of documents, of written records of an art form only one aspect of which we think of as being written, the actual texts of plays. However, these are not the documents in question (although some bibliographical information about the plays is also included); rather it is the responses to performances, particularly reviews, written reminiscences, playbills, newspaper reports, which provide, collectively, the material for a historical survey of theatre in Australia.

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In the late nineteenth century, the Sydney barrister and critic, William Bede Dalley is reported to have said: ‘I enjoy literature in all its manifestations. But if there is one class of books I prefer to another, I think it must be’ – with a flash of his teeth – ‘why, New Books!’

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