Accessibility Tools

  • Content scaling 100%
  • Font size 100%
  • Line height 100%
  • Letter spacing 100%

Archive

The Australian Bicentennial Arts Program has been documented in a collection of review articles recently published by Mead and Beckett. It is a record not only of the wide range of arts activities throughout the year but also of some of the issues which confronted the artists involved.

No, it is not an Aborigine on the front of the Australian Bicentennial Authority’s 1988 Reviews (edited by Sarah Overton). It is Mamadou Dioume as Bhima in Brook’s Mahabharata. And don’t be misled by the Aboriginal colours in a contemporary-primitive motif that hovers in the foreground about the title. The essential problem is, evidently, to appear respectable while affirming a vanquished culture (is there a preferable word?) within an imperial medium.

... (read more)

Men are running scared, says David Foster, in the wake of ‘uppity’ women who want to emasculate them. In conversation with him about his new book, Mates of Mars, Rosemary Sorensen contemplates the rules and codes of chivalric fighting.

David is a little defensive as he answers the door to me in Bundanoon, where he lives with Gerda and hordes of children. He’s not too impressed with literary critics, and academics leave him cold. But he knows that there’s a game called publicity and if people are going to find out about his new novel, then he will have to tolerate the prying and jostling of people such as myself. I’d already told him that I think Mates of Mars is outrageously good, but I could see in his face he thought that might have been an angle I was using, a feint, a sly positioning so that I could manoeuvre myself into a perfect position to kick him in the groin. David Foster is very, very wary of women.

... (read more)

I was supercilious towards Italy and Italians before seeing Italian films and reading Curzio Malaparte’s novels. Malaparte foiled the superciliousness while the films’ backgrounds, something as simple as sunlight in the squares, intrigued. Previously France had provided an alternative to Anglo-Saxon culture. An Irish heritage set me askew to Anglo-Saxondom, but it did not give me another language as English had supplanted Gaelic. In any case, Ireland was the past and a somewhat mythic past at that. My parents were attached to Ireland but even their parents had been born in Australia. Indeed there had been no direct contact with Ireland since the mid-nineteenth century; it was the past you could not reach but only romanticise. Being of Irish origin meant being Catholic outside the Anglo-Protestant Pale.

... (read more)

Hero, Allan Baillie’s sixth novel for young readers, shows this seasoned storyteller at his best. Succinct yet incisive, it is a highly disciplined display of how tight technique can turn a single incident into an exciting story. Right from the first line, ‘A single drop of water exploded on Pamela Browning’s open exercise book’, we know we are on the precipice of an event towards which every mumble on the earth and rumble in the sky lead.

... (read more)

Would it surprise you to know that a number of our well-known writers write to please themselves? Probably not. If there’s no pleasure, or challenge, or stimulus, the outcome would probably not be worth the effort. If this effort is writing, it seems especially unlikely that someone would engage in the activity without enjoying the chance to be their own audience.

... (read more)

Philip Hodgins writes with assurance and he has a fine ear for the rhythms of spoken Australian. This enables him to recreate the ‘tall story’ in poetic form with great facility and yet this very facility is at the same time limiting, since it restricts the writer largely to what has already been said (typically, he devotes seventeen pages in this collection to a poem entitled ‘The Way Things Were’). He becomes a reporter of stories, of histories and jokes rather than an explorer of the literary unknown. At times this leads him to take on not only the form of colloquial bar-room speech but the whole masculine ethos of this language with its prejudices, clichés, and resounding misogyny.

... (read more)

Initial appearances notwithstanding, The Great World is not a grand, epic title. It is a phrase of the wide-eyed naäf, gaping at the wondrous, which is anything beyond his experience, especially any tawdry, flashy concoction. In fact, David Malouf’s primary ‘great world’ is an entertainment park of that name in Singapore where ...

... (read more)

I must acknowledge that in his second novel Rod Usher, author of the widely praised Man of Marbles, tells a good story. And he tells it competently, with some verve. The high points are nicely judged and well-spaced. The characters are drawn with firm lines. The setting – the countryside around the Conda­mine – is well integrated into a narrative which moves to a striking climax. The novel should enjoy some success and may well become quite popular.

... (read more)

It’s a lovely idea – to go among the scientists in a pith helmet, learn their lingo, suss out what’s really going on behind the myths of cool objectivity. Like any other major human undertaking, science is a matter of interests, conscious or covert, set by policy and ideology alike. Such factors are all too easily accepted as inevitable and innocent; think of the male-dominated, reductive cast of traditional laboratory practice.

During the last decade, a kind of anthropology of urban subcultures has arisen, abandoning the highly romanticised jungles of the Third World to colonise the offices and labs of our own. Exchanges between participants are explicitly treated not as an ethnographic resource to be taken at face value, but as a topic for sceptical investigation.

... (read more)

There’s a lot to be said for plain writing for writing in such a way that the reader is nudged along through nuance and observation to perception. Plain writing tends to make the reader feel as if they too are watching impassively what the writer sees. It’s a little like standing in shallow water, not noticing the tide coming in. Plain writing involves the reader; any shocks, or passions, come from within the story not from the use of highly coloured words or manipulative tricks.

There used to be a saying: Penny plain; twopence coloured. It came from the sale of cardboard prints in a London toyshop. The uncoloured prints were considered inferior, less exciting. They left too much to the imagination.

... (read more)