Review

The birth seasons of the Democrat and Republican presidential candidates may be one of the few details of the nominees that have escaped close scrutiny in the lead-up to November’s election. Such a neo-Hippocratic political analy-sis might also consider their general body types, genealogies, dispositions, and partners, according to the approach of a 1943 study, Lincoln-Douglas: The weather as destiny. Written by a Chicago physician and professor of pathology and bacteriology, William F. Petersen, the meteorological biography of Abraham Lincoln and his political opponent Stephen Douglas sought to make the case for the causal climatic forces on the political trajectories of its protagonists. Lincoln’s success was apparently thanks to his slender physique and ‘better equilibrium with the environment’.

Aby Warburg (1866-1929) was an influential figure in the academic development of interdisciplinary studies during the early years of the twentieth century, and Hans Hönes’s excellent new biography charts the contributions and contradictions of Warburg’s life and work. Born into an immensely rich banking family in Germany, Warburg nevertheless resisted the expectations associated with his Jewish family background and, despite his grandmother’s hope that he might become a rabbi, opted to carve out for himself a career in humanities scholarship.

As I began reading Elfie Shiosaki’s Refugia, shocking reports were emerging from the Western Australian coronial inquest into the death of sixteen-year-old Cleveland Dodd in Unit 18, the youth wing of Casuarina Prison, a maximum security adult prison. Before I had finished the book, the news came through of the death of another Indigenous teenager in custody. Decades after the devastating report of the Royal Commission into Aboriginal Deaths in Custody, with its clear and urgent recommendations, little has been done to keep First Nations people out of custody and safe when in custody.

In the dying days of the ignominious Conservative government that he led from 2019 to 2022, the former UK Prime Minister Boris Johnson compared his fall to that of Shakespeare’s Othello. ‘It is the essence of all tragic literature,’ he claimed, ‘that the hero should be conspicuous, that he should swagger around and that some flaw should lead to a catastrophic reversal and collapse.’ Fintan O’Toole seizes on this self-serving, deluded commentary as an instance of a widespread misconception of Shakespeare’s tragic art and one that can be traced, in part, to the playing fields of Eton.

In her Preface to Telling Lives, editor Chris Wallace invites the reader to join a thought experiment: a group of biographer-refugees, driven by earthly global warming to reside on planet Alpha Centauri, ask themselves: ‘Did biographers play a role in the downfall of Homo sapiens on Earth?’ Were they, in other words, complicit in the culture of disinformation that contributed to global catastrophe? Writing in the ‘post-truth era’, Wallace highlights the centrality of truth in what has traditionally been termed the ‘biographical contract’.

We look to literary biography to understand how works of literature came into being and made their way in the world. But how much can we learn about the processes of artistic creativity from biography when the public self of the author almost completely effaces the private self of the writer: when we are left wondering how this person, of all people, could have created the works that bear their name?

The fifteen years from the end of the World War II to 1960 were in many ways a dark period of queer history in the United Kingdom. The 1920s and 1930s were relatively relaxed in their attitudes to the gay world. As Adam de Hegedus, writing as Rodney Garland, wrote in his novel The Heart in Exile (1953), ‘the war broke down inhibitions and the element of danger made sex rampant. Public opinion was lax and the understaffed police had many other things on their minds.’

Whenever I spot the new flyers of our university’s student communist club, all I can do is admire the gumption. Talk about seriously swimming against the tide, the political equivalent of hawking CDs in a Spotify world. When just broaching the topic of negative gearing can torpedo a major political party in this country, what chance is there that the kids are going to abolish private property altogether? The truth is that communism’s only active role in the West today is playing the bogeyman, a danger label to be slapped on anything conservatives find insufficiently conservative. See, for example, the current US vice-president, who had only to politely request a little more corporate tax, please, sir, and voila, she’s Comrade Kamala, cackling her way to the gulag.

The story of the only female pope (to date) emerged in the thirteenth century, and for some time thereafter was widely disseminated in Europe. She was initially alleged to have lived in the twelfth century, but what would become the best-known version of the story placed her election as pope in the year 855. The pontificate of ‘John Anglicus’ was said to have lasted for approximately two and a half years, between those of Leo IV and Benedict III. The story, which may have originated as parody, flourished in credence. The head of ‘Johannes VIII, Femina de Anglia’ was included in a series of busts of the legitimate popes in the nave of the Cathedral of Siena until 1600, when Pope Clement VIII ordered its removal and formally declared that the impostor pope had never existed. With no contemporary evidence substantiating the audacious tale of ‘Pope Joan’, it appears to have been a kind of medieval urban legend. Despite this, her appeal to artists and writers persists, adaptations of the story including two film versions, novels, plays, and (premièring in 2011) a musical.

In Street to Street (2012), Brian Castro wrote, ‘It was important that he was making the gesture, running in the opposite direction from a national literature.’ In Chinese Postman, Castro’s protagonist Abraham Quin is ‘through with all that novel-writing; it’s summer reading for bourgeois ladies’. Quin is a Jewish-Chinese former professor, bearing sufficient similarities to the author to function as an avatar. Quin and Castro are the same age, have written the same number of books, and live in the same place (the Adelaide Hills). Sometimes Quin speaks as Quin, sometimes the author chooses to make his ventriloquism evident, and sometimes the identity of the narrator is unclear, but the voice is always raffish, erudite, mercurial.