Wakefield Press

As Nicholas Jose observed in the November 2005 issue of ABR, the face of South Australian novelist Catherine Spence, currently featured on our $5 note, circulates much more widely than any of her books. Like those of several other nineteenth-century Australian women writers, Spence’s novels were revived in the 1980s but are now once again out of print. So this new edition of her autobiography, extensively annotated and accompanied by letters and a diary never before published, is especially welcome.

Beyond Belief is yet another account of the atomic tests that were conducted in Australia between 1952 and 1962. It does not deal with nuclear strategy, the technical aspects of nuclear weapons or their delivery systems. It is weak on secondary sources, and there is no reference to archival records. The absence of footnoting makes it of limited use for detailed scholarship. It relies to a great extent on the 1984-85 McClelland Royal Commission for a discussion of the reasons behind the bomb tests, the so-called ‘Black Mist’ incident, the undeclared use of Cobalt in the trials and the poor oversight of the Australian Atomic Weapons Test Safety Commission. The section of the book, based on the writing of Alan Parkinson, dealing with the problems in cleaning up the test sites is useful, but hardly new.

Relatively few Australians possess a criminal record, but virtually everyone in this country leads a vicarious life of crime. The greater part of our popular culture is pervaded by crime in inverse proportion to the rate of actual offending. Law and order is a sensitive political topic right now, yet at the same time never has the criminal world held such sway over the popular imagination. The bulk of television drama across all channels is crime-based, and crime is the raison d’être of endless documentaries, news reports and current affairs stories. Not even the most pedestrian soap opera is free from criminality; the rules dictate that sexual relationships must entail a period of stalking, and business cannot be transacted without skulduggery. The Hollywood dream factory, needless to say, could not operate on such an immense scale without the heavy consumption of the raw material of crime.

While you read this review, someone somewhere in the world is organising his or her calendar for the next few years to make sure that it will include at least one performance of The Ring. Special flights, advance tickets, holidays and sabbaticals will be juggled with, and ‘The Festival Play of Three Days with a Preliminary Evening’ will be tracked down and added to a pilgrim’s relentless progress. The opportunities are widespread temporally and geographically. Bayreuth manages a new or an adapted production each year, and opera houses and festival sites round the world have become devoted to mounting Ring productions – some at colossal cost and others of ingenious improvisation. Cologne and Adelaide are merely the latest to come to mind, within a month or two of each other this year. Der Ring des Nibelungen has at last become the World Drama that Richard Wagner planned; however its box-office success is taking its composer’s real intention ever further from realisation.

War stories are never extrinsic to war. The us-and-them plots, domino theories and governing metaphors, the operational jargon and vast naming schemes, even the post-hoc synopses (we won, we should have won, another win like that and we’re finished): these are not patterns laid over something real; they stream from the enabling code.

Between 1966 and 1971 the Australian Task Force Vietnam administered its own war in Phuoc Tuy, a province south-east of Saigon. The Australians had their own allocation of enemy (D445 local guerrilla battalion and elements of the NVA 5th Division), their own style (US gear and fire-support, Vietnamese patrol tactics) and, of course, their own story. They were the latest Anzacs. Right?

It had to be the black metaphor of the season. On Boxing Day, Radio National ran a short, sharp-edged conversation on Australia’s changing relations with the Pacific island-states. One contributor, Professor William Maley, said that the Australian government’s bribery of the destitute statelet of Nauru made him think of ‘the caddish squire seeking out the most wretched prostitute in the village’. Responding. Richard Ackland commented that those who devised the appalling Pacific Solution seemed extraordinarily unconscious of the connotations that still attend that word ‘solution’.

Speaking in the context of the Quebec secessionist movement, Stéphane Dion described Canada as ‘a country that works in practice but not in theory’. Whilst particularly telling of that country’s political turmoil, Dion’s summary also points to an abiding tension in all Western democracies: the perceived gulf between the theory and the practice of modern government. Constitution and parliament, the people and their representatives, tradition and modern requirements: in theory, each pair dovetail, but in practice they tend to be loose at the edges. (Try finding, for example, any reference to ‘prime minister’ in our Constitution.) The ongoing efforts within Australia to reconcile the theory and practice of government are at the centre of this important book, which was released to coincide with the South Australian Constitutional Convention (held in August 2003).

Much science and fantasy fiction is written in a predominantly realist mode. This is the most economical means of signifying the internal truth of its fictional worlds, no matter how strange its aliens, or how superhuman the powers of its heroes. So, for example, Tolkien writes, ‘Holding the hobbits gently but firmly, one in the crook of each arm, Treebeard lifted up first one large foot and then the other; and moved them to the edge of the shelf.’ Whatever his nature – half-Ent, half-tree – Treebeard comfortably occupies the grammatical subject position.

Ken Bolton recommends this: ‘What is most valuable in these poems, and what is rare, is Keneally’s avoidance of metaphor and of the conventionally poetic in favour of intelligence and educated plain-speak that, of course, isn’t so plain, so unitary ...’ This well-meant blurb could create some problems, as the volume is actually as metaphoric and conventionally poetic as most modern collections. ‘Plain-speak’ also has an Orwellian feel, particularly with ‘intelligence’ and ‘educated’. Many poetry conventions and metaphors are aids to communication, including their use in general speech.

Gallienus is hardly the best known Roman Emperor. The records of his reign from 235 to 268 are so fragmentary that even the date of his assassination can only be approximated as taking place during a six-month period.