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John Richards

The ABR Podcast 

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

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Neil Thomas

The red thread: Xi Jinping’s ideology of power

by Neil Thomas

This week on The ABR Podcast, Neil Thomas reviews On Xi Jinping: How Xi’s Marxist Nationalism is shaping China and the world by Kevin Rudd. Thomas explains that even China watchers find it hard to be clear on the thoughts and plans of the leader of the Chinese Communist Party. They disagree, he tells us, on basic, critical questions, such as for how long Xi will rule. ‘Enter Kevin Rudd’, Thomas writes. ‘In his latest book, former prime minister Kevin Rudd adds a worthy new chapter to his life of public service, digesting thousands of pages of “Xi Jinping Thought” so that you do not have to’. Neil Thomas is a Fellow on Chinese Politics at Asia Society Policy Institute’s Center for China Analysis in Washington DC. Here is Neil Thomas with 'The red thread: Xi Jinping's ideology of power' by Neil Thomas, published in the December issue of ABR.

 

Recent episodes:


In Joseph Conrad’s Heart of Darkness (1899), the sailor Charles Marlow recalls captaining a river steamer in the Belgian Congo, a venture that becomes a search for the colonial agent Kurtz, said to be a brilliant if infamous ivory trader, who is ill and possibly mad. Marlow’s journey, of course, becomes a passage into psychological as well as (to the European mind) geographical darkness, and offers a damning portrait of Western imperialism.

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This year, the ABR Elizabeth Jolley Short Story Prize received nearly 1500 entries from thirty-six different countries, a record field. Placed third was ‘A Fall from Grace’ by John Richards. The story is the first work of historical fiction to appear on the shortlist of the Jolley Prize. In today’s episode, listen to the author read ‘A Fall from Grace’, which our judges described as ‘a deliciously enigmatic story, rich in the overtones of the international canon: Balzac, Calvino, Borges. Set in pre-revolutionary rural France, a talented painter’s career receives an unforeseen jolt that simultaneously shadows his life and propels his work from realist proficiency to metaphysical greatness.’

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One interpretation of the facts is that Jean-Michel Houvrée produced his most arresting art only after he had died. Born in 1694 in Ariège-sur-Mentouin, a village a few kilometres north of Carcassone, to a moderately prosperous inn-owner and his wife, he was brought up a Catholic but embraced Jansenism in his early twenties. He was educated at the local village school until the age of fourteen: an indifferent scholar in the classroom, he was an avid student of the natural world. He was a good boy, obedient to his parents, kind to his friends, open to the loving grace of God. He had big feet, thick black hair, dark brown eyes, a shy smile. Any free time he had after assisting his father in the inn, he would wander the sun-baked lanes and fields carrying cheese and home-baked bread in his bag, beneath a sky colour-washed fresh each day by his Creator.

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