Non Fiction

I remember Richard Waterhouse as my lecturer in American colonial history at Sydney University in 1978. Then in his late twenties, he stood at the lectern as if itching to break free, arms flailing, feet shifting, constantly pushing his glasses back up the bridge of his nose; every lecture had its moment of vaudeville. After daily suffering the monotone perorations of those who stood entombed in their academic gowns, I enjoyed his lectures, which seemed driven by an infectious curiosity about the past. Perhaps it was also the material that captured the students’ imagination. American history, laced as it was with any number of grand and naïve utopias, could be read as epic and tragic drama, a constant fall from grace.

Written in hotel rooms while working as a professional actor in various indigenous film, television and theatre productions, Peter Docker’s Someone Else’s Country is a deeply sensitive and at times intensely visceral engagement with contemporary indigenous culture. A work of non-fiction (the names are fictionalised), it is also a powerful historical document, which has at its heart the struggle of a non-indigenous author trying to find an authentic position from which to discuss the indigenous culture with which he largely identifies.

This is the last of David McKnight’s quartet of books on the Lardil people of Mornington Island, with whom he has worked from his first field trip in 1966 until his most recent in 2001. (For reviews in these pages of two of them, From Hunting to Drinking and Going the Whiteman’s Way, see the October 2004 and the February 2005 issues, respectively.) The title is characteristically challenging. A struggle for power in what we are always being assured was a tranquilly ordered society? Most of us have seen the pretty diagrams representing ‘traditional Aboriginal marriage practice’. How could violence and sorcery intrude on those elegant, iron-clad arrangements? Where all is prescribed, how can there be a struggle for power? And power over what?

According to Aristotle, rhetoric is ‘the ability, in each particular case, to see the available means of persuasion’. In today’s parlance, the term is often used pejoratively, connoting an obfuscation of truth. This would come as no surprise to Aristotle, whose treatise on the topic, Rhetorica, demonstrated an acute awareness of the dangers posed by the adroit manipulation of the means of persuasion for dubious ends.

Books on language have been immensely popular in recent years. Simon Winchester’s The Surgeon of Crowthorne (1999) was a study of the relationship between James Murray, the editor of the Oxford English Dictionary, and the insane citation collector Dr Minor. Winchester followed this with The Meaning of Everything (2003), a history of the Oxford English Dictionary project. In Australia, the reception of Don Watson’s Death Sentence: The Decay of Public Language (2003) and of Watson’s Dictionary of Weasel Words (2004) demonstrated the general reading public’s interest in language matters.

With the greatest novels, you can plunge into them anywhere and still savour their greatness; it is recognisable on every page. You won’t need to have read the two earlier volumes of these edited diaries to recognise that same quality throughout the third – and I mean novelistic greatness, of which all the great diaries (from Samuel Pepys’s to James Lees-Milne’s) partake in important ways.

I could always rely on Gerald Murnane for a beautiful quote. Nine years ago, when I was researching a piece on writers and technology, he told me he wrote all his books on a manual typewriter with the index finger of his right hand: ‘My favourite word to type, as a one-finger typist, is “afterwards”,’ Murnane told me over the phone. ‘It’s a beautiful whirly movement with one finger.’ Afterwards, as I transcribed his perfectly weighted sentences, it was clear that Murnane had probably already written the words he spoke to me. ‘I tend to think of words as written things rather than spoken things,’ Murnane writes in ‘The Breathing Author’, one of the more recent pieces in Invisible Yet Enduring Lilacs, his first book in a decade. ‘While I speak, I often visualise my words as being written somewhere at the same time.’

Martin Krygier’s deft, discursive prose could persuade anyone except an ironclad ideologue that it is exhilarating as well as healthy to examine one’s prejudices and complacencies. Krygier is also a writer possessed of a frank openness that gives credence to the idea that you can judge a book by its cover. I suspect he’d also enjoy the piquancy of maxim busting. The cover of Civil Passions is a particularly beautiful one: a detail of Ambrogio Lorenzetti’s 1338–40 fresco, the Allegory of Good Government. Its Giottoesque precision and its colour – those luminous Sienese pinks and reds – would be reason enough to use it. But there is a deeper fitness to the choice, and it has to do with what Krygier describes as his destined mode of being: one of hybridity.

This is not an airport read; anyone wanting colourful stories about Harold Holt’s private life will have to dig deep. Dr Tom Frame, Anglican Bishop to the Australian Defence Force, has written the first substantial biography of Australia’s seventeenth prime minister, who succeeded Robert Menzies in early 1966 and drowned on 17 December 1967. The Life and Death of Harold Holt, about ten years in the making, is a meticulously researched and scholarly work, and should become an essential reference for anyone interested in Australian politics and history. It wasn’t a commissioned work, but Frame deals with his subject sympathetically.

If it is the case that we can no longer avoid the effects of living under conditions of globalisation, then increasingly that spatial dimension governs our lives. Look not, therefore, deep into the history of our individual nations or localities to explain what is going on, but lift your eyes to the horizon, and beyond, where a devastated city may be smouldering. Within minutes, a local politician will be warning us that we may be next.