Non Fiction

At the beginning of this wide-ranging collection of criticism by the novelist, critic, and academic Anthony Macris, the author notes wryly that an early candidate for the book’s title was Personality Crisis, such is its diversity of topics and styles. The implication here is that reviews and essays form a kind of autobiography. I’m not sure I would use the word ‘crisis’ to describe it, but certainly the portrait we have in this case is of a writer driven by very different kinds of curiosity: about literature and writing but also the art forms that lie beyond them – and, as centrally, by a social and political curiosity about the ways those forms change when they respond to the world around us.

What is the musical’s appeal? Performing arts venues in Australia’s capital cities stage them year after year; a lucrative box office seems to be virtually guaranteed. The feel-good mix of song, melodrama, and vibrant dance – not forgetting the bonus of a happy ending – can lift the spirits and entertain the entire family. Recently, Chicago (Melbourne, Brisbane), West Side Story, and Billy Elliot (Adelaide) secured packed houses.

It’s perhaps a dubious thought, but the life of an actor invariably triggers something prurient in the audience, some desperate need to peer past the mask, to see beyond the curtain. Books by and about actors indulge this prurience, whether or not they are intended to. Works like Konstantin Stanislavski’s An Actor Prepares (1936) or Stella Adler’s The Art of Acting (2000) deal academically with the interiority and motivations of acting, but they still offer a glimpse into the process and the perceived trickery of creation. The most fun are the intentionally salacious ones, like David Niven’s The Moon’s a Balloon (1971) or Scotty Bowers’s Full Service (2017), which detailed the sexual proclivities of Hollywood’s closeted élite. Anything to get us closer, to get us into the inner sanctum.

In 1973, aged six, I heard the song ‘Rock On’ by David Essex. I was obsessed by its sound. While I couldn’t have put it into words, I half understood that the song was made sonically exciting not just through its inventive arrangement (a song about rock and roll with no guitars!) but also its production techniques, especially the use of reverb and delay to ‘stage’ the vocal and instrumental performances.

‘How we spend our days is, of course, how we spend our lives,’ writes Annie Dillard in The Writing Life, her timely appeal for presence over productivity in modern life. Turning the page on a new year reminds us of the seasonality of time, its familiar cycles of life, death, and rebirth. But flipping through the empty pages of a calendar can also remind us that time is a human construct designed to regulate our lives for maximum efficiency and output. In today’s attention economy, where time is treated as a currency by the technologies we use to satisfy our animal need for connection, how might we rediscover the joy of being present in a moment, a body, a community, a place? In other words, how are we to live?

When country needs burning, timing is everything, and the grasses, by how cool or warm they feel, tell you exactly when to light up. Victor Steffensen is a master of timing. His book about Indigenous fire management came out just weeks after Australia’s unprecedented fires inspired calls for more Indigenous burning to quell the danger.

Feature-length documentary film has seldom been as commercially successful as fictional drama at the box office. Nevertheless, Nick Fraser tells us that it is now ‘common to hear documentary film described as the new rock ‘n’ roll’. It is exactly this energy, influence, and popular appeal of documentary that Fraser wants to tap into with this book. He seeks to further enliven the documentary aficionado’s appreciation of the genre and to expand their knowledge of titles and filmmakers.

In the past we have tended either to ignore or to marginalise cultural ‘expatriates’. In today’s cosmopolitan culture, we are more used to varied career paths, but it is still possible for someone who has made most of their career abroad to be overlooked. Judith Anderson is a case in point. Born in Adelaide in 1897, Francee Anderson (her first stage name) made her professional stage début in 1915 in Sydney, but from 1918 she was, virtually for the rest of her life, based in the United States. Desley Deacon’s substantial, superbly illustrated biography rescues Anderson from obscurity and reveals the full extent of her remarkable career on stage, in film, and on television.

Imagine you’re trying to make sense of the universe five hundred years ago, when astronomers believe there are just seven visible ‘planets’ wandering about the Earth: the sun and moon plus Mercury to Saturn. Intriguingly, there are also seven known metals: gold, silver, copper, iron, tin, lead, and mercury. For hundreds of years there have been just seven known ‘planets’ and seven metals. Wouldn’t you be just a little tempted to see more than a coincidence here? Take gold, for example, which ‘does not react with anything in the air or the ground, and so retains its brilliance seemingly forever’: surely its power is similar to that of the ever-shining sun?