Peter Craven
Peter Craven is one of Australia's best-known literary and culture critics. He writes regularly for both the Fairfax and Murdoch press about literature, film, television, and theatre.
Helen Daniel, the editor of Australian Book Review since 1995, died suddenly on Monday, 16 October 2000. Her death has sent waves of shock and sorrow throughout the Australian literary world. According to Andrew Riemer, at the Writers’ Week in Brisbane, held on the weekend after Helen’s death, session after session paid homage to this woman who, without vanity or arrogation, had made her name ... (read more)
It’s a Proustian title, or at any rate a Powellian one, that Bernard Smith has produced for this memoir of his life in the long-ago 1940s, and, yes, there on the cover is Anthony Powell’s hero, Poussin. That’s doubly appropriate because one of the more vivid figures (though also one of the more saturnine ones) in this remembrance of things past is Anthony Blunt, great scholar of Poussin’s ... (read more)
In the last however many years, we have seen the rise of a kind of faction in this country which has enabled people like Drusilla Modjeska and Brian Matthews to show what scintillation and what fireworks may follow when the life of the mind (with whatever attendant discursive zigzagging) allows itself to imagine a world as well as to analyse one. It’s not too hard to say that the peculiar energy ... (read more)
Murray Bail has passed muster as an important Australian novelist for quite a while now. His 1980 novel Homesickness, with its sustained parodic conceit of Australian tourists forever entering the prefab theme park, rather than its ‘real’ original, was an early national venture into what might have been postmodernism. Holden's Performance, a good time later, was as unyielding in its come ... (read more)
Julius Caesar, first performed in 1599, dates from the period when Shakespeare was leading up to Hamlet, and its central figure Brutus, the conscientious assassin, is a bit of a rough draft for the introspective side of the Prince of Denmark, whereas Richard II, four years earlier, had been for his actorishness. The play is often first encountered in middle high school. It is one of Shakespeare’ ... (read more)
Everybody thinks they know about Tim Winton: the working-class hero from the West; the whale of a man who’s been writing since he was a boy; the master of one of those big Australian prose styles that is muscular and magnetic and sometimes just a bit too self-delighting; someone who straddles the literary and the popular like a colossus.
Whatever you think of The Riders (1994), Dirt Music (2001 ... (read more)
Mario Vargas Llosa is one of the marvels of contemporary fiction. The Peruvian Nobel Prize winner not only bestrides it like a colossus, he is also a law unto himself. It is as if he takes the legacy of a realism that is only in his hands magical (because of the enchantment he creates from it) as a kind of blank cheque with which he can license any expense of narrative in a waste of flaming invent ... (read more)
Kate Grenville’s Lilian’s Story is one of the great Australian novels of the last thirty years. When it was first published in 1985, it was immediately hailed as a masterpiece. The original cover carried a recommendation by Patrick White, Nobel laureate and the greatest writer of any kind Australia has produced. White said that in Lilian’s Story Kate Grenville had ‘transformed an Australia ... (read more)
The legend of Kenneth Mackenzie (1913–55) has always hovered around the corridors of Australian literature. From Western Australia, was he? Died young, didn’t he? Trouble with drink, wasn’t it? Or sexual identity, could it have been? They say he’s worth reading but nobody much has, have they?
... (read more)