Archive

Consider the plight of the established novelist. The readership (that’s us) comes to recognise a particular style, a particular set of themes, and presumably that is one of the reasons to go on buying the writer’s books. Should the next book always be in the same mould – in which case we might become a tad bored – or should there be something quite out of character, causing us to gasp with disbelief? After all, it is usually disastrous when a diva starts singing popular songs. Christopher Koch’s new book sets up these kinds of tension. Something new about what is remembered?

Given the Howard government’s recent proposal to include the compulsory study of selected aspects of Australian history for secondary school students, perhaps it is time for more educators to follow the lead of Nicholas Jose and others in urging that Australian literature occupy a more prominent place in the school curriculum. Literature – and poetry in particular – does not have the political buzz that history possesses (especially since the recent ‘history wars’ have worked their way into public discourse), but there is a need for some healthy consciousness-raising about the flourishing state of Australian writing, which is often better understood beyond our shores than it is at home.

Quite when the figurative usage of ‘companion’ as ‘a work of reference ... that is presented as a friend to be consulted with whenever needed’ came into fashion is uncertain. I well remember my first companion, the third edition of the invaluable Oxford Companion to English Literature, from my student days in the 1950s. Oxford University Press now has a large stable of companions – some seventy titles at last count – covering everything from Christian thought to jazz to baroque music. The latest addition to the Oxford stable is a doorstopper: The Oxford Companion to Australian Politics (OCAP). Together with its sister volume, The Oxford Companion to Australian History, first published in 1998, it should become an indispensable, if expensive, tome in the library of any thinking Australian.

As the size of Jennifer Strauss’s two-volume scholarly edition of Mary Gilmore’s verse attests, Gilmore (1864–1962) is one of the most prolific poets in Australian literature. At around 800 pages, Volume 2 complements the first volume (which Vivian Smith reviewed in ABR, February 2006). Together, these two volumes represent the most detailed editing of an Australian poet to date. Rayner Hoff’s bronze statue of Gilmore’s head on the cover signals the consolidation of Gilmore’s reputation in the last thirty years of her life. (In 1933 Gilmore became a life member of the Fellowship of Australian Writers; five years later, she was made Dame of the British Empire.)

Advance Australia … Where? is such an eye-catching pun on Australia’s national anthem that it is no wonder that it has been used, with slight variations, as the title of at least eight books and pamphlets since World War II. Such publications have tended to express an individual author’s vision for the nation. In contrast, the latest Advance Australia … Where?, written by Hugh Mackay, mainly discusses current trends in public opinion, although it includes a few cautious predictions about the future and a number of suggestions for social reform.

Until the last decade, there has been very little serious scholarly interest in Australian book publishing. Indeed, when I began lecturing in this discipline in 2001, there was no historical or contemporary overview that could be recommended to my students beyond the entry in the Australian Encyclopedia. However, with the recent dramatic growth in Communications courses, and spurred on by projects such as the History of the Book in Australia (HOBA), this situation has suddenly changed. UQP has already published two of the three promised HOBA volumes on the history of Australia’s print culture. Now we have, from the same publisher, a new collection of scholarly articles, which is undoubtedly superior to Paper Empires: A History of the Book in Australia 1946– 2005 (2006), the HOBA volume that dealt inter alia with contemporary publishing. Making Books: Contemporary Australian Publishing is less impressionistic and more systematic in its approach.

Peter Doherty, an Australian biomedical researcher, won the Nobel Prize for Physiology or Medicine in 1996 and accordingly has substantial credibility among members of the international scientific community. This book, however, has been carefully crafted for a more general audience, and might well be enjoyed while sitting (hatted and sunscreened) on a beach. The blurb suggests that the contents provide an entertaining, albeit informative, account of the ways in which natural resources such as air, water and hydrocarbons have been harnessed by human ingenuity. But Doherty has a more serious intent, which he deliberately takes time to unfold. The subtext to his light-hearted explanations of how candles, light bulbs and refrigerators work, and how we use a variety of fuels to heat, cool and light our lives, is that this planet is running out of non-renewable energy sources. He suggests that we need to use brainpower and research to find alternatives sooner, not later, if we are to ensure the survival of our children.

Rock’n’roll romanticism can stand in for many things: the sense of lost authenticity, lost freedom, lost youth, the good old days before music was composed by machines and performed by underwear models and all the pubs were turned into gambling venues. The passion, the music, the soul: Venero Armanno’s new novel is about all that, though one of its main faults is that it is always telling you what it is about rather than making you feel it. It is not primarily self-congratulatory – Armanno makes fun of rock wannabes always on the verge of failure – but that note is never far off, and the book still seems to be trying to write its own blurb.

In 1994, I stood at the foot of the mighty Athabasca Glacier in the heart of the Canadian Rocky Mountains. At places more than 300 metres thick, the ice was treacherous, riven by great fissures and studded with rocky debris carried down from the Columbia Icefield, seven kilometres away. We had parked our car outside the chalet, a kilometre or so behind us, and traversed the moraine stretching across the treeless valley. As I waited for a break in the clouds before taking a photograph, it was disconcerting to consider that, one hundred years earlier, my vantage point would have been compressed under tons of slowly flowing glacial ice. Indeed, the glacier then extended beyond the site of the current Chalet carpark. This was my first direct experience of global warming. With such compelling evidence of climate change, it is not surprising that award-winning photo-journalist and environmentalist Gary Braasch begins his book on global warming with matched images of the Athabasca Glacier taken in 1917 by A.O. Wheeler, and in 2005 by Braasch himself.