Archive

Under a Medlar Tree is Syd Harrex’s fifth slim collection since his first, Atlantis, came out twenty years ago. With connections to both Tasmania and South Australia, Harrex has travelled widely and appears to be one of those poets who has made that Faustian bargain with academia where Mephistopheles says: ‘I will deliver you much material (but not the time to use it).’ Such a trade-off seems to ensure that its signatory will be an occasional poet, a poet of travel pieces, of dedications and elegies, of small moments saved and treasured between bouts of academic writing. As befits a man under such pressures, much of Harrex’s poetry has been about love and death. With Under a Medlar Tree, this is even more the case.

Tasmania is a wild place, the home of the last great temperate rainforests on the planet. Somewhere in those forests, or perhaps in the sclerophyll scrublands of the north-cast, may still be lurking a thylacine, the famed Tasmanian tiger. Over the years, there has been no end of searching, so far with no result. Despite numerous reported sightings, all we know for certain is that the last one ever sighted, a female, died on 7 September 1936 in miserable captivity in Hobart Zoo.

Belinda Alexandra’s first novel, The White Gardenia (2002), was a ‘word of mouth best seller’. It may not have been picked up by certain critics, but it was nevertheless favoured by the book-buying public. Its subject was exotic – the fortunes of the daughter of a White Russian refugee family in Harbin and Shanghai – but the Mills & Boon cover was a bit of a worry. Now Wild Lavender appears, the second instalment of Alexandra’s two-book contract.

For some long-forgotten and surely misplaced medical reason, I was forced as a child to take spoonfuls of vile white poison called Hypol. It may have had some sinister connection with cod-liver oil – I no longer know or care. I mention this arcane information because Robert Macklin’s memoir War Babies, is the first example know to me of Hypol’s appearance in a literary work. I don’t recall anyone else mentioning ‘the Rawleigh’s man’ from whom my mother, not liking to send this hawker away without a sale of any kind, would buy jelly crystals.

The internet, like its big sister, the electronic computer, is a Little Frankenstein of the Cold War – one of the countless bright ideas brought shuddering to life with the financial backing of the US military’s Defense Advanced Research Projects Agency in the feverish aftermath of the launching of Sputnik, the world’s first man-made satellite, by the Soviet Union in 1957. And why did the US military finance the research and development of a medium that would, thirty years down the track, turn the Amazon into a cheap place to buy books and forever pervert the meaning of a humble can of Spam? In a word: Armageddon.

Years before I had set foot in Italy, Masaccio’s frescoes, even in flat reproduction, opened a bright chink into a time and place not my own. There were the indelible faces, the bustle, colour, the human jousting – life so vivid, foreign and shockingly familiar. Vintage is the literary harvest of ten years of a writers’ festival in Mildura. If, like me, you have never been, this is your Masaccio ticket of entry into a decade of conversations, poems, stories, essays, recipes, letters, music and song. Vintage could be a ragbag, but it isn’t. It could be a self-congratulatory riff, but it isn’t, because the writing is of such quality and because the presiding figure of Stefano de Pieri gives the volume coherence and verve.

The Bunburyists is a reminiscence of the author’s five years’ escape from the ‘dependent worlds of politics and journalism’.

I had fled with my family to the bush … where we sought to escape the present by returning to the past and setting ourselves up in business as dealers in antiques. Or at any rate, a superior kind of junk.

Today, as the novel opens, he finds himself again perched in the Parliamentary Press Gallery – ‘I have come back to work, to all I had sought to escape. The admission of defeat is self-evident. One more among many failings.’

Bring back Carmen. Bring back Cheryl. Bring back Natasha. I would even have accepted a bit of Bronwyn as a relief from the relentless maleness of this year’s federal election campaign. The female politicians who were household names less than a decade ago – Carmen Lawrence, Cheryl Kemot, Natasha Stott Despoja, Bronwyn Bishop and Pauline Hanson – have been disgraced, marginalised or relegated to the backbenches. Replacements do not appear to be imminent, in part because the still-pitiful number of female parliamentarians are rarely allowed to shine. In the campaign, for instance, talented female politicians such as Julia Gillard were kept tucked away, despite the fact that what might be called women’s issues – especially childbearing and rearing – were central to the platforms of both major parties.

Rodney Hall has always been a professional poet in the sense that he professes and declares – indeed, almost seems to make himself – in his poetry. The poetry seems to become a means of coping with experience; more, it becomes perhaps the central part of the experience. So it is in Black Bagatelles. But here, art and its expectations become less something for living than for dying by. Not that this book marks any great break with what has gone before, any rupture of identity. On the contrary, implicitly or explicitly, death has always been a major presence in his poetry. Its preoccupation with art and artifice represents, amongst other things, an attempt to give himself alms against oblivion. But in these poems the note of doomsday, sounded in the title of his first collection of verse, Penniless Till Doomsday; rings out, not portentously, but wittily, with immediacy and perception. Hall has always been concerned with masks, poses, the dance of experience. Now, the ‘masks compose themselves tableau-still’ and the source is revealed of the ‘desperate rustlings going on behind’. This source then is death, but not death majestical and metaphysical as Donne and the seventeenth century ‘knew him, not moralising and the servant of the mighty God as in the middle ages, but jester and joker, the one who calls the tune to life’s comedy, to

 … the hold of

heart

on heart the band

of gristle the bloodtie

just

waiting to be

bled to death by a clever cut