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Diary

The ABR Podcast 

Released every Thursday, the ABR podcast features our finest reviews, poetry, fiction, interviews, and commentary.

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Lake Pelosi

‘Where is Nancy?’ Paradoxes in the pursuit of freedom

by Marilyn Lake

This week on The ABR Podcast, Marilyn Lake reviews The Art of Power: My story as America’s first woman Speaker of the House by Nancy Pelosi. The Art of Power, explains Lake, tells how Pelosi, ‘a mother of five and a housewife from California’, became the first woman Speaker of the United States House of Representatives. Marilyn Lake is a Professorial Fellow at the University of Melbourne. Listen to Marilyn Lake’s ‘Where is Nancy?’ Paradoxes in the pursuit of freedom’, published in the November issue of ABR.

 

Recent episodes:


Attending a poetry festival is not normally considered a life-threatening event (not even if you are prone to deep vein thrombosis from constant sitting) but when I told my family I was going to Struga, I was greeted by worried looks and expressions of deep concern. Struga is in the Republic of Macedonia. Just days before, Macedonian hotheads had set fire to a mosque in Prilip (not that far from Struga) in revenge for the death of a Prilip policeman in a road-mine explosion planted by Albanian terrorists. The hair-trigger tensions in that country were clearly dangerous, and possibly escalating.

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Diary by Jeffrey Tate

by
September 2001, no. 234

At dawn, we scraped the ice from the windscreen and fled Quorn: a name redolent of the shires, as was the congealed gravy on the overcooked lamb the previous night, but inadequate for the immensities of the Willochra Plain, magnified by the winter light and punctuated by the stumpy teeth of the Flinders Range – ‘zu Raum wird hier die Zeit’. Melrose was prettily sleepy and closely shuttered: the possibilities of both Zeit and Raum senza cappuccino loomed. A shriek from the back seat alerted us to a curl of smoke rising from the low roof of the Old Bakery, Wirrabara, and we ground our long-suffering Mitsubishi to a halt.

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Sunday morning at Balgo in the Kimberley, the wind ripping past in a cold gale of dust and smoke. Wirrimanu, the name of this place, means ‘dirty wind’. White plastic shopping bags pulse and inflate, struggling against the twigs and wire that restrain them. My view down the magnificent plunge of the pound is intercepted by the gridded weld-mesh cage enclosing the verandah, and again by the three-metre-high cyclone mesh fence surrounding the compound. An insufficient barrier, as it turns out, to the entry of determined petrol sniffers. They have been in during the night and have opened all the jerry cans in the back of my car. Slippers, the dog who sleeps in the tray, has clearly made them welcome. I am carrying only diesel and water, and the sniffers have taken nothing, leaving a small stone on the lid of the toolbox as a gesture of – what? – irony, defiance, humour?

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I speak well crook. I speak better, when better. And I get bitter when my usually unstoppable health chucks it during an author tour. This happened to me the other week in Geelong, when the State Library of Victoria had Chris Beck and me as their travelling wits.

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April 16, Ghana. We arrive to the pandemonium that is Accra Airport. It is as if a coup has happened and everyone is fleeing the country. The general dilapidation of the place seems vaguely familiar. Suddenly, I remember a BBC documentary series on airports around the world, which featured Accra. Nick changes US$100 at an exchange rate of 7000 cedis to one greenback. He returns with a huge wad of worn notes stashed in a large brown bag helpfully labelled with large dollar signs for all those milling around, eyeing us sharply, to see. We manage to negotiate our way into town via porters and taxi with 5000 cedi notes peeling off us in the form of tips.

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You tend to notice things when away from home. For instance, I have always been struck by how many people on trains and buses in Paris have their noses buries in books. So when I spent a couple of weeks there in March, I tried as often as decently possible to sneak a look at what Parisians were reading.

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It’s funny about Australia and me. For the first thirty years of my life, I longed to get out of it, and now I can never wait to come back! I have lived in England for forty-two years. I have a marvellous marriage, an English son, three English stepsons, fourteen English grandchildren, and a host of devoted English friends. I love England, the countryside and the changing seasons, from the film of green announcing spring to the glory of autumn and the magic of seeing the bones of the landscape through bare trees in winter. The sound of English birds thrills me. Were I banished, the recollection of the ‘chukka-chukka’ of pheasants (all right, I know they were originally Chinese!) going up to roost would reduce me to tears.

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A white-haired, white-bearded Captain George Bayly peers benignly out at us from the 1885 photograph frontispiece of A Life on the Ocean Wave. With epaulettes to his black uniform jacket, braided sleeves, a sword at his side and a ceremonial captain’s head-piece on the table beside him, Bayly looks the quintessential retired man of the sea. He looks like a man Charles Dickens should have been describing. We should be meeting him in some sea-side parlour, in some sailortown tea-palace. He looks as if he has a story to tell.

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‘There was nothing in particular to write about either yesterday or the day before, as, indeed, there is not today.’ Fifteen-year-old Arthur Clarke speaks, in 1868, for many of us whose diaries didn’t live up to our hopes of them. Why do we write them?

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Bertolt Brecht: Journals 1934–1955 edited by John Willett, translated by Hugh Rorrison

by
July 1994, no. 162

Bertolt Brecht’s poem, ‘To those born later’, contains the following line: ‘For we went, changing countries oftener than our shoes.’ The publication of this translation of Brecht’s Journals 1934-1955 (written in an e.e. cummings-style lower case throughout) provides an abundant fleshing out of that line, giving a detailed sense of what it meant to Brecht to be an artist in exile, denied the comforts of his culture and language, denied the possibility of seeing the plays he was writing rehearsed or run-through, a process he always regarded as the final stage of writing: ‘all the plays that have not been produced have something or other missing. no play can have the finishing touches put to it without being tried out in production.’

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