Ross Gibson

Words matter, and there can be few more misleading ones in Australian history than ‘settlement’, as used to describe the period immediately following the arrival of the First Fleet. It connotes understanding and agreement. In Sydney Cove, by contrast, five distinct groups were present: Governor Phillip and his immediate entourage; naval vessels and their crews; a detachment of Royal Marines; a group of convicts; and the Indigenous people of the area whose home it had been for tens of thousands of years – all of them at some stage profoundly misunderstanding each other and often in major disagreement or conflict; all of them decidedly unsettled.

Over the last two decades, Ross Gibson has earned an outstanding reputation for ground-breaking investigations into cultural memory, image and place, and for his strikingly innovative films and installations, his curatorial work on the Photographic Collection of the Sydney Justice & Police Museum, his foundational directorship of the Australian Centre for the Moving Image, and, of course, his highly imaginative non-fictional writing. With its eponymous allusions to William Empson and to Jonathan Raban, his Seven Versions of an Australian Badland (2002) announced its own haunting by earlier explorations of the pastoral and of the irreducible ambiguities in history’s traces.

The idea of place as a metaphor of Australia’s colonial past and post-colonial present is a recent development in Australian history. The three books reviewed here come from a new generation of cultural historians who want to move the story of Australia from the national to the local. These cultural historians’ books reveal an intimacy with place and a new confidence in connecting the past to the present.