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Oxford University Press

One of the most interesting developments in recent Australian historiography has been a pushing back of the frontiers, a recovery of times or phases which seemed quite beyond recall, even when remembered. Such history-writing bears something of the character of sounding in archaeology.

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I was once subjected to a lecture by a Dublin taxi driver ‘on the extensive inequities of the Central Intelligence Agency’. Its every atrocity, in Southeast Asia, Latin America, and the Middle East, was relayed to me. It was an object lesson in the popular contempt in which the CIA has been held since its founding in the 1940s.

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In the twentieth century, the Jewish experience has been dominated by two extraordinary (and related) events: the Nazi holocaust and the establishment of a Jewish state in Israel. It is natural that they should be reflected in Jewish historiography, and especially in the large number of books, articles, and theses concerned with the impact of the Holocaust on Jewish communities around the world. In Europe, especially, where almost every national Jewish community was destroyed, historians (many of them survivors of the events they describe) have been struggling to come to terms with the way these things happened.

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This handsome set of volumes – this ‘library’, it might almost be said – is one of the finest large publishing projects undertaken in Australia over recent years. Dedicated to ‘those who have served in the defence of Australia, 1901–2001’, it is brought triumphantly to a conclusion by the recent issue of its Volume VII, An Atlas of Australia’s Wars. This climactic volume, lying open on your desk, spreads eighty centimetres wide and is a splendidly presented treasury of geographical and logistical information. Now we can make better sense of, for example, the plethora of existing individual unit histories. Many of these (despite their wealth of fine detail and personal information) have baffled our broader understanding. Now we have, set out before us, the land (or the sea, or the airspace) where the fighting took place, and can appreciate reality in a new dimension.

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ART

Contemporary Aboriginal Art: A guide to the rebirth of an ancient culture

by Susan McCulloch

Allen & Unwin, 248 pp, $39.95 pb

1 86508 305 4

Contemporary Aboriginal Art (first published in 1999) contains a wealth of information for those interested in the history, practice, and culture of Aboriginal art. By its very nature, Aboriginal art is constantly changing and evolving, and, in this revised edition, Susan McCulloch details new developments in already well-established communities, and the emergence of some entirely new movements. McCulloch, visual arts writer for The Australian, has travelled extensively to the Kimberley, Central Australia, Arnhem Land and Far North Queensland, and her book provides first-hand accounts of Aboriginal artists and the works they are creating.

Beautifully illustrated, Contemporary Aboriginal Art also contains a comprehensive directory of art centres and galleries, a buyer’s guide, and a listing of recommended readings.

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For a reform politician, these three books should be compulsory reading. They are not, for such a reader, heartening. But they do ‘serve in many respects to discover, to confute, to forewarn, and to illustrate’.

Brian Dale’s Ascent to Power, very much less than fair to Neville Wran, is an unintended expose of the nature of political journalism in this country and its practitioners.

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I am writing this review in a cafe in the main street of Gympie, a town founded on gold discoveries in 1867. It is 200 kilometres north of Brisbane and seventy kilometres from the coast. Frontier types abound in a town population of 11,000 and in farming communities around. Rough, craggy, sunburnt faces, wizened facial muscles, arms creased by years of hard work and a determined walk. In their everyday habits they exhibit loyalty to friends, a capacity to improvise and a contempt for blacks. And these are the women.

As our feminist historians have pointed out, there are few women in Russel Ward’s The Australian Legend, first published in 1958. Indeed in the index there are only a handful of entries: ‘on goldfields’, ‘prostitution’ or and ‘shortage of, in bush’, the last being the longest entry.

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The life and work of Charles Baudelaire (1821–67) must be viewed against the historical background of the crushing failure of the Paris revolution of 1848, in which soldiers massacred three thousand workers. In the elections that followed this unsuccessful working-class uprising, which Baudelaire and his fellow artists supported, the French Romantic poet Alphonse de Lamartine received 18,000 votes, while Louis Napoleon received fifteen million.

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‘It’s a media beat-up,’ our Brooklyn Airbnb host assured me as we chatted on the doorstep one sparkling autumn afternoon in early November 2016. ‘They need to make it seem like a contest or there’ll be no story.’ It would have been rude for me, as an outsider, to demur. I bumped into him once more, ashen-faced the following morning, after Pennsylvania had finally swung to Donald J. Trump, delivering him the presidency. Our conversation was brief; his sense of disorientation palpable.

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In 1959, David Hill, aged twelve, left England and sailed on the Strathaird to Australia with two of his three brothers. Like thousands of children before them the Hill boys were bound for a Fairbridge farm school. Like thousands of children before them, they had come from a poor background, with a struggling single mother who believed that Fairbridge would give her boys a better education and greater opportunities in life than she possibly could.

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