Archive

Sir Paul Hasluck has written a most interesting account of Australia’s foreign policy during the war and the period 1945 to 1947. His impressionistic narrative which seeks to illuminate a period of history through one pair of eyes, as a central witness, giving evidence of how it was, works quite well despite the difficulties and unintentional distortions of the historical record that such an approach can often involve. I suspect that in the fullness of time his account of this period will be substantially upheld by future professional historians.

Axel Clark’s is the first full-length biography of Christopher Brennan, and its publication has drawn attention to what was a lamentable deficiency in Australian literary studies.

This volume will come as a surprise to those who think of Esson simply as the father of Australian drama, the man who set out with the avowed aim of building up a national school of Australian drama, the author of the ironically titled classic, The Time Is Not Yet Ripe. Esson was not merely a talented playwright, but a prolific freelance writer and journalist as well as a dedicated nationalist and socialist. This is the first representative selection of his work to be published: it is a compendium of his verse, stories, short plays, and articles, political, literary, and humorous.

In the penultimate chapter, Bernard Smith describes a meeting of the Sydney Teachers College Art Club, an institution he founded and later transformed into the leftist NSW Teachers Federation Art Society. The group was addressed in 1938 by Julian Ashton, then aged eighty-seven and very much the grand old man of Sydney painting and art education. He spoke at great length on the inadequacy of the NSW Education Department’s art teaching practices. Smith adds that Ashton also ‘told his life story (as old men will)’. 

Here is a production that most poets would die for. Peter Steele’s new book is a spectacular hybrid beast, a Dantesque griffin in glorious array: it is a new volume of poetry and an art book, with superb reproductions of works of art spanning several centuries, from collections all over the world. Paintings most of them, but also statues, sculptures, objets d’art, a toilet service, the figured neck of a hurdy-gurdy, a hoard of Viking silver and a diminutive six-seater bicycle. And the reason for this pairing is that these are all ekphrastic poems, ‘poetry which describes or evokes works of art’, as Patrick McCaughey glosses it in his introduction. How Steele brought off such an ambitious venture I can’t imagine.

Last summer, Peter Booth became the first living artist to have a full-scale retrospective exhibition at the National Gallery of Victoria’s Ian Potter Centre at Federation Square. With eighty-one paintings and 150 drawings, it ranked as one of the largest surveys ever accorded a contemporary painter. It was a bold move on the gallery’s part and made a claim for Booth’s pre-eminence within his generation. Surprisingly, there were no interstate takers for the show.

Roland Barthes called language our second skin: ‘I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire.’ Which should make the latest Meanjin, ‘On love, sex and desire’, a veritable Kama Sutra of literary massage. Yet it opens, perversely enough, with a denunciation of the erotic. John Armstrong’s honest, elegant and sharply self-critical essay recounts an early sexual experience during a brief trip to Paris. Giving his father the slip one morning, the teenager snuck off and spent his money on a prostitute. Afterwards he wandered the streets, full of loathing: ‘I was wicked, stupid, naïve, vile, corrupt, irresponsible, thick, wasteful, out of control, nasty, brutish.’

Jane Austen’s latest biographer, Jon Spence, observes that by deciding to support herself by writing rather than live on a husband’s income, Austen was spared the likelihood of annual pregnancies, exhaustion, infection and early death, fates that confronted many married women of her day. Another means of avoidance was travel abroad. That was not the only motive, of course, of the many European women who, from the early eighteenth century, attracted admiration, censure and curiosity by combining writing and travel. Nor did it always work.

Theo van Gogh, born into a celebrated family, made himself famous, and infamous, in the Netherlands for his outrageous opinions, such as accusing the Jewish lord mayor of Amsterdam, the son of Holocaust survivors, of being a Nazi sympathiser. According to Ian Buruma, the author of Murder in Amsterdam: The Death of Theo van Gogh and the Limits of Tolerance (2004), when van Gogh made the controversial film Submission with the Muslim activist turned politician Ayaan Hirsi Ali, Buruma thought that this would be seen as another of his national ‘village idiot’ gestures. There was no intention to draw more than imaginary blood. Van Gogh had lived his whole life secure in the knowledge that in the Netherlands he was onze Theo (our Theo), and that what he was free to deride because of Article 23 also protected him. But to Muslim fundamentalists, freedom of speech is anathema. God, and his representatives, decide what is and can be said. In this mindscape, this very freedom of speech, as espoused in the Netherlands, proves that the country is an infidel state.