History

'This is a book about friendship and storytelling’, writes Marilla North in her prologue to this artfully arranged selection of correspondence. It begins in 1928 and covers the next twenty-seven years, chronicling the large and small events in the lives of Dymphna Cusack, Florence James, and Miles Franklin, three of Australia’s most vital, fluent, and committed women writers.

One might question the appropriateness of this book’s title. Were women’s groups in the first half of this century championing impossible causes, or were they champions of the inevitable? In other words, to what extent did the organised women’s movement, or first-wave feminists, actively bring about legislative change to improve the position of Australian women, or might these changes have occurred anyway, the inevitable consequences of improved technology enabling women to plan their working lives?

We all like to think of ourselves as civilised. Civilisation is like ethics: a concept and an underlying value system that seems impossible to oppose. Who, after all, could possibly be against civilisation? Who would want to take issue with the institutional stability, the democratic order and the standards of fairness, decency and culture we have come to see as hallmarks of a civilised life? Brett Bowden does. He does so in an ambitious and fascinating book that offers what could be called a genealogy of civilisation: an inquiry into the history, meaning and political impact of a concept.

At first sight, a genealogy of civilisation seems a rather dry and academic exercise. Bowden, a political scientist at the Australian Defence Force Academy, University of New South Wales, examines the political and cultural contexts in which the idea and the ideal of civilisation emerged. He locates the linguistic roots of civilisation in fourteenth-century French, but then focuses primarily on how the concept took on an increasingly important meaning in the French, English and German vocabulary during the eighteenth and nineteenth centuries. Although Bowden draws only on English-language sources, he still offers a sophisticated and remarkably wide-ranging discussion of how the concept of civilisation became central to philosophy, legal discourse, scientific progress, socio-political institutions and colonial ambitions.

Long gone are the days when the discipline of classics was almost exclusively focused on the golden ages of fifth-century Greek and first-century bce Roman literature and their antecedents. During the past decades, under the leadership of the indomitable Peter Brown and others, the period of later antiquity has become a burgeoning field of research. Yet it cannot be said that the study of specifically Christian thought and literature has been fully integrated into this development. Too often it has remained the domain of departments of theology and religion and of their associated vehicles of publication. In his thought-provoking and stunningly erudite new cultural history of time, the distinguished Cambridge classicist Simon Goldhill not only diagnoses this state of affairs but also seeks to remedy it. 

Why do publishers do this? The cover of this book screams that the Cowra breakout is an ‘untold’ story, and ‘the missing piece of Australia’s World War II history’. Neither claim is remotely true, as the author himself acknowledges. Once we get past the sensationalist cover and into the text, Mat McLachlan notes that the story of the Cowra breakout has been told several times before, and well: he even salutes Harry Gordon’s Die Like the Carp!, first published in 1978, as the ‘definitive’ account. So this is hardly the missing piece of an Australian military history jigsaw. Another stretch is the suggestion in the shoutline that the breakout was a conventional military ‘battle’.

In early 2020, as the SARS-CoV-2 pandemic took hold, a special kind of viral hazard appeared upon the surface of the sea. Offshore from Sydney, Yokohama, San Francisco, and elsewhere loitered cruise liners turned floating hot spots. As they awaited permission to dock and disembark their passengers, the boats became an inadvertent exhibition of cruising-industry foibles. Behind sluggish and patchy Covid action plans, we learned, lurked other forms of misbehaviour, from grotesquely unscrupulous labour practices to systematic tax avoidance. The high seas, it seemed, really were wild.

Persons of Interest does not fit readily into any familiar genre. It crosses the borders of biography, psychology, Cold War history, and family studies. When Pamela Burton and her sister Meredith Edwards decided to write a book about their parents, they realised that different readerships would be attracted to different parts. Who would be interested in a book about the marriage, and the post-divorce lives, of a man who had been a central figure in public controversies many decades ago and a sensitive, introspective woman who was little known to the public but for whom their daughters felt far greater sympathy? By crossing those borders with what their prologue calls ‘a unique, intimate and candid account of our parents’ complexities and interweaving relationships’, they have written a book that will be ‘of interest’ to many readers, no matter what their usual focus.

The Elizabethan Mind attempts nothing less than a comprehensive summary – within the limits of existing scholarship – of the literary, philosophical, theological, religious, scientific, political, social, emotional, and cosmic contexts for understanding the nature of the mind in the age of Elizabethan England. Insofar as is possible for a cultural history of this kind, the book succeeds. It is an impressive achievement. The prose is not only lucid, but at times positively breezy. And yet, within the confines of its particular approach, The Elizabethan Mind does not betray the complexity of its subject in achieving this lucidity.

When George Lambert returned to Sydney in 1921, he was celebrated as the most successful Australian painter of his time. With his cosmopolitan charm and forceful personality, he was in demand both socially and as a leader in contemporary art circles. For the previous two decades in London, he had exhibited regularly at the Royal Academy and the Chelsea Arts Club, rubbing shoulders with prominent British artists including William Orpen, Augustus John and William Nicholson, whose linear style and subject matter were not dissimilar to his own.