Patrick Allington

Midway through Steven Carroll’s beautiful and sombre novel The Lost Life, Emily Hale gives Catherine a pair of French stockings which she has decided she cannot herself wear. To Catherine, who is eighteen, ‘The thought of Miss Hale even buying them, let alone contemplating wearing them, is intriguing, for it opens up the possibility that there may be another side, many other sides, to Miss Hale altogether.’ One of the feats of Carroll’s storytelling is his capacity relentlessly but gently to prod his characters’ inner complexities – their many other sides. Somehow he slows time almost to a standstill, leaving the past and the future pressed hard up against elongated snapshots of the present. He hones in on incidents which often seem quite ordinary, transforming them into monuments to life’s ups and downs. It should be boring, but it’s thrilling.

In characteristically symbolic fashion, the Rudd government chose the sixtieth anniversary of the Universal Declaration of Human Rights (10 December 2008) to announce a consultation process into human rights protection in Australia. Attorney-General Robert McClelland appointed a committee, headed by Jesuit priest and lawyer Frank Brennan, to consult the public on issues including whether Australia needs a bill (or charter) of rights and responsibilities. Geoffrey Robertson’s latest book, The Statute of Liberty: How Australians Can Take Back Their Rights, injects much-needed energy, imagination, and international context into this rather circumscribed debate. ‘I have spent my professional life making arguments based on bills of rights,’ says Robertson. As a distinguished and courageous human rights lawyer-activist, his emphatically pro-charter stance commands the thoughtful consideration of supporters, opponents, and equivocators alike.

Mother Land is a vibrant and charming yet sombre and brutal account of Dmetri Kakmi’s childhood on the Aegean island of Tenedos, now known by its Turkish name of Bozcaada. The book opens with the adult ‘Dimitri’, accompanied by his Turkish friend Sinan, standing on the mainland and surveying through binoculars places he has not seen for thirty years: ‘Three islets sit low on the water ... As a boy, I used to be captivated by their aloofness and solitude. When I’d had enough of people, I yearned to build a hut and live on one of them, alone, separate and untouched by a world that, even at that age, seemed capricious and delinquent beyond reckoning.’

In Defence of Food is several books rolled into one. It is a primer on nutrition science, a contextual exposé on what we put in our mouths, an advertisement for the joys of eating and even something of a self-help diet and behavioural book. It is also part of Michael Pollan’s ongoing conversation with the reading (and eating) public, and is more satisfying when placed within his oeuvre, particularly The Omnivore’s Dilemma: A Natural History of Four Meals (2006).

Mostly, though, In Defence of Food is a polemic about ‘the problem of the Western diet, and how we might plot our escape from it’. Pollan even cites a shiny new eating disorder for us to worry about: an ‘orthorexic’ is a person ‘with an unhealthy obsession with healthy eating’. While Pollan writes about the United States, we only have to read the ingredient lists on our supermarket products, or reflect upon the controversy over the meat-heavy (or meat-rich, depending on your viewpoint) CSIRO diet books, to recognise the Australian relevance of the ‘Western diet’ debate.

In The Best Australian Political Writing 2008, the ABC’s Tony Jones, a latish replacement as editor for the Canberra-bound Maxine McKew, has assembled forty-two pieces of non-fiction first published in 2007. The result is a mixed bag of genres, including columns, investigative journalism, polemic, book extracts and essays (but, alas, no fiction). The subject matter includes the November federal election, indigenous affairs, the environment, the ‘war on terror’, Australian values, and the artlessly named ‘culture wars’. The package sounds enticing, but while there’s plenty of insightful and relevant commentary – and some sublime prose – there’s also sometimes an ephemeral limpness, and an earnestness, to the anthology.

Since the November federal election, kicking John Howard while he’s down has become something of a national pastime. While Howard’s take no-prisoners-except-on-Nauru behaviour has now exposed him to gleeful mass taunting, the idea that the end of his resilient political career has instantly created a noble Australia, its citizens and institutions cleansed and renew ed, is wishful thinking. In this context, Judith Brett’s new Quarterly Essay injects some welcome clear-headedness. Brett rains blows on Howard, but she is not a Howard-hater in the counterproductive and grandiose style of, say, Phillip Adams. Instead, she takes aim at the former prime minister in a characteristically nuanced and astute way. She bridges a gap – too often in Australia, a gulf – between scholars and interested laypeople, offering prose that is accessible and lively but that avoids dumbing down complex issues.

David Malouf’s The Complete Stories brings together the three and a bit books, spanning twenty-five years, that constitute his forays into shorter fiction: Antipodes (1985), Dream Stuff (2000), and Every Move You Make (2006), along with two stories that accompanied his novella Child’s Play (1982). Given that this is a collection rather than a selection – no stories are cut from the earlier books – the quality ebbs and flows, both from story to story and from book to book. Despite its slight imperfections, The Complete Stories confirms that Malouf is, at his best, a masterful exponent of short fiction.

In someone else, John Hughes gives new voice to twenty-one famous men – writers, artists and musicians – who have influenced his imagination and his outlook on life. In this non-standard homage, Huges has written a series of what he calls ‘fictional essays’. Each piece delves into aspects of an individual’s thought and creativity, but Hughes does this through the prism of his own world view, his imagination, his preoccupations. The title recalls Rimbaud’s declaration, ‘I am made up of all who have made me’. When Hughes writes about his fictional version of Marcel Proust or John Cage or Mark Rothko, he is simultaneously writing about himself.

The continued success and quality of the Quarterly Essay series has done much to promote the long essay as a legitimate forum for detailed, informed and accessible political discussion. That this has occurred during the Howard era suggests that all is not lost in the quest for genuine public debate. In the latest Quarterly Essay, David Marr acknowledges that, ‘[s]uppression is not systematic. There are no gulags for dissidents under Howard.’ Nevertheless, His Master’s Voice is born of, and fuelled by, exasperation. Marr makes little effort to mask his personal enmity towards John Howard. And his disgust at the manner in which the federal Coalition has governed for more than a decade is palpable: ‘Since 1996, Howard has cowed his critics, muffled the press, intimidated the ABC, gagged scientists, silenced non-government organisations, neutered Canberra’s mandarins, curtailed parliamentary scrutiny, censored the arts, banned books, criminalised protest and prosecuted whistleblowers.’