Macmillan

John Birmingham’s After America is the second book in what is clearly intended to be a trilogy of page-turners – a follow-up to his Axis of Time trilogy, the swashbuckling alternative history which saw a US carrier battle group transported back in time to the middle of World War II. After America, the sequel to Without Warning (2009), is set in a decidedly dystopian alternative present, the result of a mysterious energy wave that wipes out most of the human and animal life forms in North America in 2003. As one might expect, chaos ensues. A global ecological catastrophe has accompanied the human disappearance, a civil engineer from Seattle (the only big US city to survive the wave) has been elected president, Israel has launched nuclear strikes on its Middle East neighbours, and groups of well-organised pirates from Lagos have taken over New York City.

If the back-flap biography did not proclaim John McDonald as ‘Australia’s premier arts commentator’, if the author himself did not describe The Art of Australia in the preface as ‘a massive work of synthesis intended to bring together the most recent scholarship’, and if it were not being puffed in advertisements as ‘destined to take its place as the definitive work on Australian art’, one might be inclined to take this book on its merits.

Eva Gandel and Marc Besen Married in Melbourne in 1950 and soon began collecting current art. After the closure of John Reed’s privately established but short-lived ‘Museum of Modern Art & Design of Australia’, they bought a few of its de-accessioned possessions, paintings by John Perceval and Sidney Nolan. In the 1970s they added works by recentlydeceased Sydney artists William Dobell, Ralph Balson, and Tony Tuckson. These were perceived ‘gaps’ in a collection of recent Australian art. Perhaps the systematic history of Australian art then profusely displayed in the private collection formed by their relative Joseph Brown, and first published in 1974 as Outlines of Australian Art, had inspired the Besens to be more systematic. Hitherto, they had mostly encountered local work by living artists.

Bernard Smith’s new book, The Formalesque: A Guide to Modern Art and Its History is aimed directly at those school and university students who, he writes, ‘may need an introductory primer to the art history of the 20th century’. Although it offers a lucid and accessible survey of familiar territory, The Formalesque is by no means a straightforward textbook. Smith’s persuasive, even pugnacious style has remained remarkably undiminished by time (the author is now in his nineties and this, as he himself has said, will probably be his last book).

After the phenomenal success of his Gallipoli (2001), Les Carlyon has turned his attention to the experience of Australian soldiers on the western front in the years 1916–18. Carlyon’s purpose in The Great War is clear: he wants to expand the national gaze that is transfixed on the military exploits at Anzac Cove, to include the lesser-known stories of the Australian Imperial Force (AIF) in France and Flanders. Five times as many Australians perished in the war’s main European theatre as had died fighting at Anzac Cove, but those post-Gallipoli soldiers tend to be accorded a second-rung status in the nation’s memory of the war. As Carlyon says: ‘There were so many, and they were ours, and we never really saw them.’

Families are curious entities. They are, by simple definition, households of individuals bound by common lineage. But they are also complex organisms, as these three novels show. Families nurture the individual and offer a refuge from the problems of the larger world, yet they can also impede the growth of their youngest members, who seek their own place in the world and attempt to shape their own responses to it.

To start at the beginning (that is, the dust jacket): giving the author’s name as Ingo Petzke is a misnomer. It suggests that he has written a biography of the Australian film-maker Phillip Noyce, when in fact this is neither biography nor autobiography. This indecision about its mode undermines its value. I’ll return to this.

In this important book, Elisabeth Wynhausen seeks to ‘animate the experience of a class of people who had remained invisible even as their numbers swelled’. That class is the ‘working poor’, the people who clean, cook, wait tables and deal with everyone else’s garbage. They are the so-called ‘losers’ from economic change: the men and especially the women who do the jobs the winners don’t want to do any more, like clean their own toilets.

Zeitgeist or coincidence? Spinifex and Macmillan have both just published novels with middle-aged women centre stage. In marketing terms, they have launched a niche product, targeting the middle-aged female consumer. Poppy’s Return, by New Zealand author Pat Rosier, and West Australian Liz Byrski’s Gang of Four boldly foreground women’s midlife issues. Their protagonists bravely confront the multiple challenges of their own ageing, in addition to the care of elderly relatives.

Here are two engaging books that trade on the romance and exoticism of northern Australia. Neither makes much demand on the reader nor offers profound insights, but both in their different ways abound in atmosphere and a genuine ‘feel for place’.

Rosemary Hemphill’s childhood was one of extreme contrasts. Her father, the product of Jewish Orthodox parents and Sydney Grammar, washed up in Broome with the dream of becoming the master of a pearling fleet. As so many do, he fell in love with the place and stayed until forced out by the fall of the pearling industry. He served in World War I and, while recuperating from wounds in England, fell in love with the beautiful and cultured daughter of a conventional upper-middle-class couple. The English in-laws insisted that he convert in order to marry their daughter. Back in Sydney, his father declared ‘my son is dead’, as is the custom of Orthodox Jews whose progeny ‘marry out’, and forced the rest of the family to cut ties as well. Louis Goldstein, now Louis Goldie, returned to Broome with his wife and pursued the half-glamorous, half-arduous life of the ‘master pearler’. The life was harder on the women, who were forced to battle the extreme physical conditions, isolation and monotony.