'State-of-the-nation’ books are a tricky genre: for every The Lucky Country (1964), Donald Horne’s bestselling indictment of 1960s Australia, there must be at least a dozen more which fall swiftly into obsolescence. Yet this common fate is not necessarily a bad thing: such books are meant to be timely, not timeless. As an intervention into the contemporary moment, such texts’ success or value resides in fresh and useful analysis which is currently lacking elsewhere; and the ability of the author to capture a mood that is, if not ‘national’, at least pervasive enough to be widely recognisable. At the same time, it helps if that mood has not yet been properly articulated. To raise the bar further, the best of them offer both vital historical perspective and a path forward, and are written in a persuasive and accessible style which stops short of polemic but resists hesitant equivocation. 

Nothing, it seems, is too small to have its own history. As academic disciplines such as the history of ideas have grown and prospered, popular non-fiction has followed suit, offering the history of a word, a concept, a technology. This has proven to be a highly effective method of opening up the processes of culture for closer inspection, and for revealing the contingent or motivated roots of what we now take for granted. It has become an appealing and often lively way to write cultural histories.

This is, of course, a much-awaited biography. Its subject, the commercial broadcaster Alan Jones, has long been a contentious figure. While some believe his influence over his audience has actually determined the outcomes of certain state and federal elections, others believe that this influence is a self-perpetuated myth that Sydney-siders should repudiate. Chris Masters, the author, is something of a local icon; one of the most respected and fearless of Australian television journalists, whose professional integrity is widely acknowledged.

It was during the writers’ week of the Adelaide Festival in 1992 that I first heard the so-called Australian sense of humour described as ‘Slavic’. This intrigued me at the time; now it troubles me. That week in March 1992 turned out to be the one during which sharp lines were finally drawn in Sarajevo and the attack on Bosanski Brod signalled the outbreak of war in Bosnia. Although it is difficult to weigh the significance of such events to take much notice, the least you can say is that it was a bad week for the whole idea of nationalism.

Like many students of Australian film, I became aware of Cecil Holmes’s work through the viewing of a scratched print of Three in One in a lecture hall in one of our tertiary institutions, many years after it had failed to gain general release within Australia and killed off the dream of an indigenous film industry, yet again. A brave and naïve film, it was clearly well-made, stylish, and addressed a local audience without condescension or parochialism. Three in One was an early hint of what an Australian cinema might look like, and is now held to be one of the landmarks in the history of Australian film. To those who see the film now, though, its maker must seem to have suffered the same fate as its optimistically named production company, New Dawn Films. There is some satisfaction, then, in reading One Man’s Way to see what did happen to a substantial talent squandered by an insecure and conservative Australian film industry.

A sympathetic reader might feel that Tim Winton, winner of The Australian/Vogel Literary Award, is a victim of one of the unkindest tricks Fate can play on a writer, with the publication of his first novel, An Open Swimmer, at the age of twenty-one. A first novel from a writer of this age is typically seen as, a ‘young man’s book’, full of the gaucheries and immaturities of the precocious, and even if a success, it is an albatross around his neck for the rest of his career. The best one can hope for is a moderate success, substantial enough to start a career, but not either brilliant enough or bad enough to determine its direction from then on. Fortunately, Tim Winton’s first novel does not neatly fit this stereotype.