In 1981, Terence Kilmartin’s revision of C.K. Scott Moncrieff’s 1920s English translation of Proust’s À la recherche du temps perdu was published. Against Kilmartin’s wishes, the new edition retained the unfortunate title of Remembrance of Things Past, but in all other respects the Kilmartin version significantly corrected and enhanced the Moncrieff translation.¹ This became my Proust, and I have remained loyal to it. 

During the pandemic lockdowns in the world’s most locked-down city, I made a survey of the reading habits of friends and acquaintances. While nineteenth-century classics were popular – Austen and Dickens were favourites, Tolstoy too, and Middlemarch – realist fiction, in general, dominated the reading choices. Among Australian writers were Christina Stead, Jessica Anderson, and Heather Rose. Other contemporary writers included Chimamanda Ngozi Adichie and Patrick Gale. One friend read umpteen novels from the Indian subcontinent; it was, she said, her best travel option given the circumstances. Another friend decided to read all of Bellow; he wanted, he said, to discover what everyone had been raving about. At a time when our own life stories were severely curtailed, there was a surge towards the big stories of others.

Earlier this year, while still much occupied with our works in progress, Drusilla Modjeska and I discussed what our next projects might be. We were both tempted to put together a collection of our shorter writings – essays, talks, reviews, articles – already written and just needing a touch up. ‘Money for nothing and your books for free,’ I said, echoing the old Dire Straits song – albeit in a much more acceptable form for these sensitive times. And that’s the gift with collected writings: little work is required to produce a book. But a gift for the writer can be a risky business for the reader. After all, one cannot hope that all the disparate pieces (sixty-two in Margaret Atwood’s latest collection) will be equally as compelling as one Handmaid’s Tale.

More than twenty-five years ago, I wrote an essay on the work of Oliver Sacks (Island Magazine, Autumn 1993). Entitled ‘Anthropologist of Mind’, it ranged across several of Sacks’s books; but it was Seeing Voices, published in 1989, that was the main impetus for the essay. In Seeing Voices, Sacks explored American deaf communities, past and present. He exposed the stringent and often punishing attempts to ‘normalise’ deaf people by forcing them to communicate orally, and he simultaneously deplored the denigration and widespread outlawing of sign language. Drawing on the work of Erving Goffman, Sacks showed how deaf people were stigmatised and marginalised from mainstream culture, and he revealed, contrary to prevailing opinion in the hearing world, the richness and complexities of American Sign Language.

John Berger describes emigration as ‘the quintessential experience of our time’ (And Our Faces, My Heart, Brief as Photos, 1984), and gives credence to the concept that geographic and psychological exile is pervasive to the human condition. ‘No one willingly chooses exile – exile is the option when choice has run out,’ says the ...

On the dust jacket of Elements of Surprise is the well-known picture by John Tenniel, illustrator of Alice’s Adventures in Wonderland (1865), depicting Alice gazing up at the grinning Cheshire Cat perched on a branch of a tree. I felt very much like Alice while reading Vera Tobin’s book, as if I had fallen into a world in which the rules, concepts, and vocabulary were completely alien to my own ...