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How different South-East Asia looks in 2001, compared with just four years ago. The economic crisis of 1997 gave the region a terrible shock. There is an entirely new country, Timor Loro Sa’e. Indonesia, that former bastion of stability and economic powerhouse, is now racked with unrest. It may well no longer exist in its present form a few years from now. The Philippines has just ejected another president, although its eternal problem of a landowning elite and an impoverished populace never seems to get addressed. Colonial borders are a problem everywhere in the region, incorporating tribes and peoples that would likely be better off if the whole map were redrawn.

The failure of the current system of drug prohibition was evident right from the start. Quong Tart, tea importer, socialite, lacrosse champion, and indefatigable anti-opium campaigner, insisted that banning its import would ‘stamp out the evil within twelve months’. That was in 1894.

In the ‘Author’s Prologue’ to Book III of Gargantua and Pantagruel (trans. Urquhart, pub. 1693), Rabelais considers the plight of the philosopher Diogenes the Cynic at the siege of Corinth, who, prevented from action in the battle by dint of his occupation, retired towards a little hill or promontory, took his famous tub and ‘in great vehemency of spirit, did he turn it, veer it, wheel it, frisk it, jumble it, shuffle it … ’ and so on for some hundred further verbs, thus relieving tension generated by inaction. This is the philosopher who gave cheek to Alexander the Great, who in turn said: ‘If I were not Alexander, I should wish to be Diogenes.’ One can only relish Rabelais’s irony: he must perforce use words to draw attention to the simultaneous impotence and agency of words.

The year 2001 marks the centenary of the Federation of Australia and the fiftieth anniversary of the 1951 Convention Relating to the Status of Refugees. There are important linkages between these milestones. Australian Federation was driven, among other factors, by the desire to gain sovereign control over immigration. Despite the demise of the White Australia Policy and Australia’s early support for the Refugee Convention, Australia’s present-day treatment of refugees and asylum-seekers shows us to be a nation that is still defined in negative terms, through the exclusion of others.

Joan London’s new novel, Gilgamesh, is the story of several generations of travellers, moving between Australia, London, and Europe, as far east as Armenia. As such, it is part of a long and venerable tradition in Australian fiction: a tradition of quest narratives organised around topographical and cultural difference ... 

A brief moment of reflection on the quantum of grief in Australia associated with wars of the twentieth century is, to say the least, unsettling. Nearly 100,000 killed in combat, many seriously wounded, many dealing with the physical and mental consequences long after the cessation of hostilities. Lives snatched from the everyday and made into noble sacrifices. The darker dimensions of the Anzac legacy have seeped into the national imagining in recent years, and we are now more open to the poignant melancholy of remembrance, undercutting the bellicose flag-waving of former years. But our sense of the costs of sacrifice has largely been focused on those who served. Joy Damousi in this and her previous book, The Labour of Loss (1999), opens our eyes to those others who have borne the pain of grief most acutely: the wives and families of those killed and those forever transformed by the experience of battle. These illuminating books are a long overdue acknowledgment of the burden of mourning that many Australian families have had to bear.

Wallace Stevens once remarked: ‘One of the essential conditions to the writing of poetry is impetus.’ It’s a statement worth keeping in mind when confronting a new book of poems, because thinking about impetus helps us locate the concerns of the poet and the orientation of the book. Since poems are not objects so much as events, what drives a poem helps govern how it arrives at its destination – how, in fact, it is received by that welcoming stranger, the reader. Poems reveal their origins, whether they intend to or not. What Emerson says of character, that it ‘teaches above our wills’, that ‘we pass for what we are’, is true for poems as well. So it is not an idle question to ask of these books – these poets – their impetus, remembering that ‘impetus’ derives from the Latin ‘to seek.’

In my student days in Europe, I often heard the name Eileen Joyce bandied about as a figure of respect, eccentricity and past pianistic accomplishment. Geoffrey Parsons, one of my enduring musical mentors, regularly spoke of her; it came as no surprise to read in Richard Davis’s recent biography that Parsons collaborated in Joyce’s last major public appearance, at a fund-raising concert at Covent Garden, late in 1981. I rather doubt, however, that many familiar with Parsons’s pianistic stature would readily agree with Davis’s judgment that the ‘power and dexterity’ of the seventy-three-year-old Joyce, who had not performed in public for over a decade, ‘easily’ matched Parsons’s own.

The only organised crime boss I ever knew was Perce Galea, in the mid1970s. He owned illegal casinos and raced thoroughbreds. ‘Colourful racing identity’, the polite broadsheets called him. My dad raced horses too and would go to Randwick at dawn to watch them work. I’d tag along on Saturdays and there Perce would be – Windsor-knotted tie, brown cashmere long-coat, and porkpie hat – straight from his gambling dens without having gone to bed. That impressed me. Every second word he used was ‘fuck’, and no one stopped him. That impressed me too. ‘He never swears in front of women,’ my mother would say. She called him a ‘thorough gentleman’. I liked standing next to him. I told everyone at school that I knew a crime boss. Perce told me to ‘piss off’ with a wink once, so he could talk business. When I didn’t, he gave me $5 and said ‘Scram’. You must have heard of Perce. He’s famous for having thrown a fistful of bills into the crowd when his horse Eskimo Prince won the Golden Slipper in 1964. He was a natural PR man for the vice trade.