Non Fiction

So here we are. A house in Dosson, a village ‘almost joined to’ Treviso, which in turn is not far at all from Venice. A casa aperta, an open house, one to which friends and colleagues of the owner, a well-regarded musician, are drawn, not only by their confidence that a simple permesso will ensure welcome but because the owner ‘believes implicitly in the civilising effects of hospitality’. The maestro wants his friend to write a book. It will be about ‘music and art and culture and my friends and food and where I live’. He loves to cook and obliges the appointed scribe with a list of kitchen accoutrements, which will cover all occasions. It is admirably short and begins with ‘3 pots (one big one for 10 people, one medium one for 6, one little one for 2)’. Thoreau’s central explanation of his furniture comes to mind as a rejoinder to a casa affollata: ‘I had three chairs in my house; one for solitude, two for friendship, three for society.’ The book will include recipes, the writer decides, and it does. She tells the reader, ‘Maybe the book will get sorted out, maybe not.’

In the first volume of his memoirs, In Time of Trouble, Claude Cockburn described his introduction to The Times of the 1930s, on a visit to its foreign desk. There he found one sub-editor reciting Plato’s Phaedo from memory, while another translated it into Chinese: they had a bet it could not be done without loss of nuance. Another sub-editor, a grammarian of Polynesian previously employed as a professor of Chinese metaphysics at the University of Tokyo, spent the entire evening over a two-line item concerning the Duke of Gloucester’s arrival in Kuala Lumpur. ‘There are,’ he explained to Cockburn, ‘eleven correct ways of spelling Kuala Lumpur, and it is difficult to decide which should receive the, as it were, imprimatur of The Times.’

Helga Griffin (née Girschik), conscious that memories differ and that her own is not infallible, is careful to respect the other people implicated in her story. Aware of her responsibility to them, she is nonetheless committed to breaking what she calls the Schweigen, the long silence. Sing Me That Lovely Song Again is highly apposite in its account of the damaging experience of internment. During the years of World War II, the Girschik family were incarcerated as enemy aliens in a camp at Tatura, in northern Victoria. They were displaced persons. The adults were fated to spend what should have been highly productive years trapped in a frustrating stasis that was to have long-term effects. For the children, this experience must have been formative. How were they to understand their confinement and the distress of the adults? This resonates strongly when we consider the ‘illegal aliens’ or refugees, many of them children, recently locked up in detention centres in this country. Although Griffin does not make this parallel explicit, it is implicit in the way her narrative situates her family’s experience within a larger historical context.

Both a scholarly resource and a good read, Castieau’s diaries, effectively edited, enliven and enrich our sense of colonial Melbourne. Castieau’s modest standing adds to the diaries’ significance as they record the dailiness of life, combining the public and the private: work, life around town and ‘the domestic minutiae of everyday life captured in his relentless record’. What makes Castieau exceptional are the span and detail of the diaries: ‘His workaday life does not obscure the more important issues of colonial life – getting on, enjoying oneself, establishing a reputation, being part of the world.’

Glen St John Barclay and Caroline Turner’s Humanities Research Centre offers the first historical overview of this prestigious Australian National University-based institution. Their book is an extremely dense yet remarkably comprehensive and well-written homage to one of the key international sites of scholarly research in the humanities.

Sit down to read this book: it may give you a severe case of déjà vu. At the Typeface is an anthology of articles originally published in the Victorian Society of Editors’ newsletter between 1970 and early 2001 (since then the newsletters have been appearing online at www.socedvic.org). And, no surprises, the issues that trouble editors today have a long provenance: editors are underpaid and undervalued; marketing departments have more sway than editorial ones; publishers keep costs down by a reliance on freelancers; neophyte editors find it difficult to gain practical experience when there are few in-house positions.

The story is told of how Theodor Herzl and Sigmund Freud once lived, unbeknown to each other, on the same street in Vienna. Thus did the lives of the father of modern political Zionism and the father of psychoanalysis, for one tantalising moment, almost intersect ... Herzl, a man of action in the wake of the Dreyfus Affair, who sought to transport Jews from the dangers of Diasporan life to the safety of a state all their own; and Freud, a thinker whose intellectual achievements were born of the Diasporan experience and who resolutely rejected the overtures of the Zionists to join them in Palestine. Herzl, who famously and passionately declared, ‘If you will, it is no dream’ – a motto adopted by the early Zionist movement – and Freud, who even more famously devised the tools for coolly interpreting dreams. This story, recounted in The Divided Self (and attributed to an Israeli ambassador to London in the 1980s), encapsulates the main purpose of David Goldberg’s spirited survey of the Jewish condition: namely, to defend the superiority of Diasporan Jewish life over its Zionist alternative.

Foreign travellers in India face four inevitable questions. ‘What is your good name?’ is usually followed in rapid succession by ‘Where are you coming from?’(meaning from which country), ‘Are you married?’ and, finally, ‘What is your religion?’. Backpacking through India twenty years ago, the first three questions presented few problems. My name was easy, Australia was recognised as a cricket-playing country, and I was young enough for my lack of a wife to be passed over as a matter of only mild embarrassment. The fourth question however, proved tricky. Usually, I gave the technically correct answer that I had been baptised into the Anglican Church – a reply that generally satisfied my interlocutors and not infrequently led into rambling, good-natured discussions about the similarities between the world’s great faiths. Once, I ventured a more honest response. ‘I am an atheist,’ I told a couple of friendly young Indian men on a long train journey. ‘I do not believe in any God.’ Their shock was palpable. It was not so much my spiritual deficit that appalled them as my arrogance. How could anyone have the audacity to declare that God did not exist? Our conversation never recovered. In response to all future interrogations, I retreated to my dissembling line about Christianity. The experience did not shake my disbelief, but it did serve to engender a greater respect for the question. Religion, I belatedly realised, is an important matter.

The provenance of The Howard Factor – a collection of essays by senior writers from The Australian newspaper – is not promising. The Australian is after all part of Mark Latham’s ‘Evil Empire’, cheerleader rather than critic of the Howard government. Yet its sympathy for the régime stems not from partisanship but from the newspaper’s philosophy: neo-liberal in domestic matters, neo-conservative in foreign policy. Populist desertion of elements of the neo-liberal agenda has aroused the wrath of the newspaper: witness its condemnation of the government’s policy funk in early 2001, and of its recent surrender to Snowy River romanticism. Discord has been less in foreign policy, where both government and newspaper have been willing recruits to the ‘war on terror’. So slavish has become the newspaper’s adherence to America’s contemporary wars that it has even repudiated its quite heroic stance on the Vietnam War a generation ago.

‘The very rich are different from you and me’, F. Scott Fitzgerald thought; and so he told Ernest Hemingway. Hemingway, who came back with a deflating reply, ‘Yes, they have more money’, boasted that he had won that little exchange. Yet Fitzgerald was right; and he proved it in The Great Gatsby and Tender is the Night. In the American novel more generally, money creates and defines character; as it does in Theodore Dreiser’s The Titan or Edith Wharton’s The Custom of the Country. Destructive though it may be in these novels, the making of a fortune is an expression of power and a source of drama.