Non Fiction

Antarctica feeds the Australian imagination. The two continents are mirror images of each other: dry and largely barren, both managed to elude European description for longer than just about anywhere else. They are yin and yang; hot and cold.

A brief moment of reflection on the quantum of grief in Australia associated with wars of the twentieth century is, to say the least, unsettling. Nearly 100,000 killed in combat, many seriously wounded, many dealing with the physical and mental consequences long after the cessation of hostilities. Lives snatched from the everyday and made into noble sacrifices. The darker dimensions of the Anzac legacy have seeped into the national imagining in recent years, and we are now more open to the poignant melancholy of remembrance, undercutting the bellicose flag-waving of former years. But our sense of the costs of sacrifice has largely been focused on those who served. Joy Damousi in this and her previous book, The Labour of Loss (1999), opens our eyes to those others who have borne the pain of grief most acutely: the wives and families of those killed and those forever transformed by the experience of battle. These illuminating books are a long overdue acknowledgment of the burden of mourning that many Australian families have had to bear.

In my student days in Europe, I often heard the name Eileen Joyce bandied about as a figure of respect, eccentricity and past pianistic accomplishment. Geoffrey Parsons, one of my enduring musical mentors, regularly spoke of her; it came as no surprise to read in Richard Davis’s recent biography that Parsons collaborated in Joyce’s last major public appearance, at a fund-raising concert at Covent Garden, late in 1981. I rather doubt, however, that many familiar with Parsons’s pianistic stature would readily agree with Davis’s judgment that the ‘power and dexterity’ of the seventy-three-year-old Joyce, who had not performed in public for over a decade, ‘easily’ matched Parsons’s own.

Gilbert White, in 1789, declared that ‘the language of birds is very ancient and, like other ancient modes of speech, very elliptical: little is said, but much is meant and understood’. How then to portray the speakers of such language? How to give them meaning and understanding as well as plumage?

In the sixteenth century a Swiss physician and alchemist by the name of Paracelsus claimed that everything was potentially poisonous, as long as you took enough of it: ‘the right dose differentiates a poison and a remedy.’ There is plenty of evidence to support this point of view. Legal claims for damages caused by asbestos and passive smoking are reminders that what may be a safe environment for some can be toxic for others. Indeed, one of the most common forms of contemporary poisoning is known as an ‘overdose’. The substance was fine. The amount was wrong.

Despite attempts, revived in recent weeks, to discredit the term ‘stolen generations’, what cannot be denied in the semantics of that debate are the excruciatingly painful experiences of the children involved. While the meanings of such terms as ‘removed’ and ‘abandoned’ are complicated in a racist culture by indigenous peoples’ disenfranchisement, poverty and illiteracy, the devastating nature of separation from family in childhood must never be overlooked or underestimated.

As bookshops and bestseller lists fill up with new biographies about celebrities, criminals, tycoons, and sporting heroes, Pluto Press has come out with the story of a small, fat, generally unheard-of priest, Monsignor Martinho da Costa Lopes. Unlike the mega-books it fails completely to surprise us with the sexual preferences of the famous or inform us how to make a million dollars over lunch. Its subject, Dom Martinho, is free of such ordeals as poorly executed facelifts, nosy tax officers or greedy agents. His main concerns are cruder – how to stay alive and to help others stay alive when faced with the brutality of an oppressive, harsh regime.

Political biographies are renowned as being notoriously difficult to write. Given the peculiar role of authorisation this is not surprising. The ‘authorisation’ – the act of writing – of a political biography is diminished and crowded out by a subject who not only defines the work’s content, but can literally refuse to authorise the text. In this context, Tony Parkinson’s biography of Jeff Kennett, Jeff: The rise and fall of a political phenomenon, runs up against a subject who is particularly adept at controlling the manufacture of his personal and public self. Parkinson’s biography is unauthorised, but has survived its subject’s scrutiny.

On getting hold of Grace Karskens’s new book, I went straight to the colour plates of artefacts resurrected from the neighbourhood of the title, part of the historic Rocks area of inner Sydney. I love to look at salvage: pieced-together dinner plates, dolls’ heads, and brass buckles and buttons whose verdigris defies any amount of elbow grease. But the photo that really grabbed me was of a dug-up gold wedding ring, modelled on one finger of a hand neatly manicured but for a crescent of black dirt embedded deep under the thumbnail. To me, that minute trace of the Rocks neighbourhood spoke vividly – more so, somehow, than any of the scrubbed-up artefacts – of the peculiar joys of dabbling in other people’s cesspits and of the adventure into history that underlies Inside the Rocks.

Rosalie Fraser, a two-year-old Aboriginal child, is taken from her family by Child Welfare authorities and fostered with a distant relation of her non-Aboriginal father. She suffers years of abuse at the hands of her foster mother. Occasionally she runs away but her foster mother is always able to charm her into returning. She finally leaves for good when she meets a young man named Stan whom she later marries. In her mid-twenties a gynaecological operation which becomes unexpectedly complicated and painful causes flashbacks of the abuse she endured as a child and she realises she has to confront her past. She writes Shadow Child and in conclusion recommends writing as a therapy for anyone ‘who has problems to come to terms with’.