Peter Rose
In today's episode, Johanna Leggatt speaks to ABR Editor Peter Rose about growing disquiet about ‘cancel culture’, censorious voices on social media, and Twitter's threat to writers and journalists. Beginning with the recent case of Rachel Baxendale, a journalist at The Australian, who was subjected to much invective because of her persistent questions about the quarantine fiasco in Victoria, Leggatt laments the ‘routine trashing of reputations on Twitter’ and wonders why Twitter has ‘devolved into a channel for our most juvenile emotions’.
... (read more)What we read at difficult times in our lives – plague, insurrection, divorce, major root canal work, etc. – is always telling. Carlyle, miserable and unwell at Kirkcaldy, read the whole of Gibbon straight through – twelve volumes in twelve days – with a kind of horrified fascination. I recall one friend who, at a time of ineffable tension, calmly read Les Misérables, one thousand pages long, in a single week. (I would have been incapable of reading a tabloid.) Another time, lovelorn in Siena, I stayed in my ghastly hotel room and read The Aunt’s Story right through while the handsome Sienese sunned themselves in the companionable Campo.
... (read more)ABR asked a few colleagues and contributors to nominate some books that have beguiled them – might even speak to others – at this unusual time.
... (read more)What a difference a month makes! In late March, as we were sending the April issue to press, how bleak the outlook was here in Australia, but especially overseas. Future print editions seemed doubtful because of the scale of the threat and the imminent lockdown.
... (read more)I think of you now for the first time
in about five times as many years
as you actually lived, so uncomplainingly,
they always said, as they do of the dead.
In our new episode, ABR Editor Peter Rose reviews Yellow Notebook, the first volume of the diaries by Helen Garner, a most anticipated book. Here, we delve into Garner's own private musings, the diaries she kept during the pivotal years of her writing life.
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Gale Edwards’s production of La Bohème is back for an extended summer season – sixteen performances no less. This production has been filling theatres since its creation in 2011. It may not run for as long as Franco Zeffirelli’s 1981 extravaganza, still an annual fixture at the Metropolitan Opera, but it probably has another good decade to go. Revived here by Liesel Badorrek, it works considerably better in the tiny Joan Sutherland Theatre than it did in the State Theatre in 2018; the latter is too palatial for bohemian confinement and privations.
... (read more)Reviewing the recent production of Madama Butterfly in Adelaide, I dwelt on Giacomo Puccini’s ceaseless search for new subjects between operas and how he considered everything from a Zola novel to the historical Marie Antoinette before settling on the story of Cio-Cio San.
... (read more)Yellow Notebook: Diaries, Volume I, 1978–1987 by Helen Garner
With certain artists – the luminaries, the abiders – it’s tempting to assign a kind of inevitability to their oeuvres. The musicals of Cole Porter, the satires of Jane Austen, the exiguous poems of T.S. Eliot have a kind of perfection that make them seem nonchalant. But here we run the risk of overlooking the sheer chanciness of most artistic careers – not to mention the false starts and tribulations.
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