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Anthology

The Best American Essays 2015 edited by Ariel Levy & The Best Australian Essays 2015 edited by Geordie Williamson

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March 2016, no. 379

At the back of the cupboard of old lies is a crusty one that goes like this: the essay is a lesser form of literature. Oddly, it is perpetuated in collections like Ariel Levy's The Best American Essays 2015, which – in its foreword by series editor Robert Atwan – bashfully admits that essays are the B-team of the writing world. 'The quintessential essay ...

Prayers of a Secular World edited by Jordie Albiston and Kevin Brophy

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January-February 2016, no. 378

In her introduction to Australian Love Poems (2013), Donna Ward wrote that poems 'are the prayers of a secular world'. Now, aided by editors Jordie Albiston and Kevin Brophy, she brings us a collection that tests this notion. The introduction by David Tacey states its case fervently, with, in this case, a bit too much determination that 'the sacred is inera ...

In 2010, writing in Westerly, Carmel Lawrence despaired about the lack of science writing in the collection of 'best non-fiction' of the year that she had been asked to review. It wasn't, she concluded, for want of material. Science writing had undergone a huge resurgence in ...

In Jo Case's 'Something Wild', young single mother Kristen is tempted to rediscover 'the thrill of doing what she feels like, just to see what happens'. She could be speaking for characters in many of the pieces in The Best Australian Stories 2015, a collection that features people on the verge of transgression. As Amanda Lohrey writes in her introduction, ...

The Sleepers Almanac X edited by Zoe Dattner and Louise Swinn

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December 2015, no. 377

In more than ten years on the scene, Sleepers has positioned itself as both champion of the small press sector – the natural home of the short story – and a canny player in the broader publishing landscape; its Almanac has been a reliable litmus test for the direction of new Australian writing.

In this instalment, several absurdist and satirical works are stacked into the c ...

Philosophers fear many things, as do economists, lawyers, politicians, and electricians. But there is one thing philosophers fear which is special to their profession. It is the question, asked as it might be at a dinner party or in a taxi on the way to the airport, ‘What is it that you do, exactly?’ with perhaps a somewhat intimidating emphasis on the word ‘exactly’. Often – too often – we philosophers take the easy way out. We reply that questions like: Does God exist? Is there an objective basis to morality? Is a commitment to equality simply a commitment to equality of opportunity? What makes a society a just one? are, we can all agree, important questions, and that they are the kinds of questions philosophers concern themselves with.

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‘Lending printed eloquence to a poem’ comes from ‘Alas’, Chris Wallace-Crabbe’s elegiac tribute to Seamus Heaney. There is eloquence aplenty in this fine collection of more than a hundred and twenty poems edited by poet Geoff Page, someone who understands that eloquence speaks in many tones and in various formal structures. This variety is generously represented here, even if, as a result of Page’s allegiance to ‘a broad church’ of Australian poetry and his wish to represent its full range of tendencies in a way that will speak to a congregation of ‘average reader[s]’, the collection treads lightly in the realm of experimental or avant-garde poetry.

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Shakespeare was commonly regarded by his Romantic admirers as a solitary figure, whose prodigious talents were linked in some mysterious fashion to his isolation from society and from his fellow writers. ‘Shakespeare,’ wrote Coleridge in 1834, ‘is of no age – nor, I might add, of any religion, or party, or profession. The body and substance of his works came out of the unfathomable substance of his own oceanic mind.’ Carlyle thought likewise; Shakespeare, he believed, dwelt ‘apart, in a kind of royal solitude; none equal, none second’ to his creative powers.

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The authors of the stories in Breaking Beauty are graduates of the University of Adelaide, which Brian Castro (a professor there) reminds us in his introduction is ‘the first and best creative writing college in the country’. However, as an advertisement for creative writing at Adelaide University, this collection has limited success. While the contributors’ biographical notes are impressive – most have published a book, and there are winners of major national awards – the quality of the stories is uneven. J.M. Coetzee’s testimonial points to this with his focus on ‘the best of the writers in this collection [who] take us outside our comfortable selves’. Indeed, some of the best – like Stefan Laszczuk’s ‘The Window Winder’ with its image of decapitated heads kissing, Sean Williams’s ‘The Beholders’ as a clever Twilight Zone-esque tale of aesthetics, and Katherine Arguile’s beautiful ‘Wabi Sabi’ with its magical realist components – are masterful explorations of the uncanny.

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Of all the books published in the United States last year, only three per cent were of foreign origin. This year is hardly likely to be any different. So it is something of a wonder that this considerable and imaginative collection of modern Australian poetry was produced in the unlikely setting of the University of Louisiana. Professors Jack Heflin and William Ryan, who direct the creative writing program there, have a longstanding interest in international literature, and John Kinsella was the natural, if not inevitable, choice as editor of this anthology, which, with 123 poets spread over almost 600 pages, is the most comprehensive collection of contemporary Australian poetry ever published in the United States.

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