Judith Bishop

In the opening poem of Virgil’s Eclogues, a shepherd newly dispossessed of his farm by a soldier returning from war exclaims: ‘There’s so much trouble everywhere these days. / I was trying to drive my goats along the path / And one of them I could hardly get to follow; Just now, among the hazels, she went into labor …’ (trans. David Ferry). More than 600 years later, Poussin’s painting, Les Bergers d’Arcadie, dit aussi Et in Arcadia Ego (1638–40), takes up the theme of dispossession in a more radical key: even shepherds in Arcadia must die. The pastoral mode (taken broadly to include anti- and post-pastoral) has always enveloped threats to the pastoral idyll. John Kinsella’s The New Arcadia – with Poussin’s painting on its cover – is the final instalment of an ‘anti-pastoral’ trilogy initiated by The Silo: A Pastoral Symphony (1995) and followed by The Hunt (1998). In The New Arcadia, as in its prequels, we find the pastoral mode in full-blown crisis: in modern Australia, nature’s small misfires (viz. the goat’s ill-timed birth) have escalated into ecological disaster. In The Hunt, the farmers and their families are killed by their own tools, dying in accidents, falling under tractors, shooting themselves; in The New Arcadia, on the other hand, most of the victims are native birds.