Penguin

Catherine Jinks’ new novel reminds us that humans are great pigeonholers: we like to know where everything (everyone) fits, to be able to pop them in the right slot, slap the right label on the front and relax, secure in the knowledge that our future reactions are safely prescribed by the parameters of the pigeonhole to which we have consigned them.

A masculine reader, one assumes. From that (limited) point of view, John Scott writes the most erotic prose in the country. Linda Jaivin is ham-fisted by comparison. We are talking about a textual sexuality, the kind practised so exquisitely by David Brooks in The House of Balthus. We are talking about a sexuality that may, perhaps, be possible only in language. As Helen Gamer observes in her review of John Hughes film of Scott’s novel What I Have Written: ‘I must state a painful fact; sex in a book is sexier than sex on a screen.’ (The Independent, June 1996). I must state a further painful fact: bodies get in the way. Not of sex; not of lovemaking; but of the erotic. The body trammels the imagination.

The publisher’s promotional material which was included with the review copy of Philip Salom’s new poetry collection, The Rome Air Naked, indicated the book would be launched ‘with an innovative exhibition which will use computer technology to extend the written work into an aural, visual and multimedia presentation’. After reading the author’s introduction and then dipping into the poems for the first time, I only wished I could be there, to listen to, and participate in, the promised performance which will combine visual image and sound, animating the poetry, allowing it to breathe off the printed page, to dance freely in space.

Intimacy, someone has said, is ultimately unintelligible. Yet this novel suggests that intimacy, to the self and to others, may well be all we have. Miller’s three previous novels move in a similar direction. But in them there was a good deal still of the world of the likeness, of the external world as it seems to be. The Sitters, however, is about drawing a portrait of an ‘art of misrepresentation’, which interrupts our historical consciousness and unmasks the pretentions of rationality, taking us out into the dark beyond common sense, touching something else beyond words.

Before you start this novel, take a big, deep breath. Aljaz Cosini – riverguide, ex-footballer, drifter – is drowning, and we’re going along for the ride. There he is, stuck fast beneath the surface of Tasmania’s Franklin River, hopelessly wedged between rocks, his one free arm waving grotesquely to the unlikely band of adventurers who have paid for his services. The irony isn’t lost on him. Not much is lost on him at all. It seems his whole life, from his miraculous birth (struggling to break free from the restrictive sac of amniotic fluid) to his final humiliation on the river, has been leading inevitably to this moment. And now the river carries not only his own past but the pasts of all those who have gone before him like a great tide of stories washing over him, pushing him down, forcing more and more water into his lungs. Stories, stories, stories. A world and a land and even a river full of the damn slippery things.

The ‘place in the city’ of Fr Edmund Campion’s latest pilgrimage into Australian Catholic life and history is St Mary’s cathedral, Sydney. Campion spent six years here as a young-priest working in the shadow of both the cathedral and the august Normal Cardinal Gilroy.

Beatrice Wood, banished by those around her to ‘the category of the aged’, is both the focus and the strength of Julian Davies’s third novel, Moments of Pleasure. Choosing to live her life as a single woman, she has been the unforgiven Magdalene of her family because for fifty years she has been the lover of Mark, a man twice married. A dapper moustache of a man, Mark drifts in and out of both Bea’s life and the novel.

As Nicholas Hasluck’s latest novel points out more than once, the adversarial system of judgement upon which this country’s law is based consists of the telling and re-telling of stories. The prosecution presents a version of events, the defence uses the same facts but tells a different story and, in summing up, the judge constructs a third one. Finally the jury is empowered by society to decide the ‘truth’. Counsel for the prosecution and for the defence are obliged to argue their respective points of view to the limit of their professional ability. The most effective way of doing this, as one of Hasluck’s characters points out, involves ‘subverting rational argument – constantly interrupting, confusing witnesses with nit-picking questions, blocking the presentation of crucial facts, shaping the truth to suit his client’s case’.

Heddy is a survivor. She is good looking, intelligent, strong, determined, businesslike, materialistic, positive, rather like those formidable Middle-European ladies who run dress shops and control their customers with a mixture of bullying and continental charm. She has tremendous vitality, guts and initiative, has taken great risks and worked hard to ensure freedom from fear and material security for herself and her family.

Over 35,000 copies of the hardback edition of Edward ‘Weary’ Dunlop’s war diaries had been sold before they were reissued in paperback. Now Sue Ebury, who edited those diaries for publication, has written an accompanying ‘Life’. An impish picture of the older Weary in a sportscoat looking rather smaller than he really was grins beneath his name written in gold on a red silk background. In the paper edition it will surely be embossed.