David Marr

Forty-three years ago, David Marr – journalist, broadcaster, biographer, political commentator, and public intellectual – published his first book, a sharp, memorable biography of Garfield Barwick, former Liberal attorney-general and chief justice of the High Court. After the appearance of Patrick White: A life in 1991, long considered one of the best biographies ever written in Australia, he might well have followed the more predictable path of the serial biographer. But Marr’s trajectory has proved to be anything but predictable.

There was excitement. David Marr, newly appointed editor of the National Times at just thirty-three, had agreed to speak with politics students on campus. Volunteers were dispatched to buy the obligatory felafel and cheese, plastic cups, and cask wine, and at 3 pm the famous journalist arrived to address ...

Church leaders have rarely become national public figures, let alone objects of political contention, in Australia. Since Federation, the number who could be so described can be counted on fewer than the fingers of one hand. There is Ernest Burgmann, the Anglican prelate who earned the sobriquet ‘the red bishop’ for his espousal of left-wing causes during the Depression. Much better known is Daniel Mannix, the long-serving Catholic Archbishop of Melbourne, whose interventions in controversies ranging from conscription campaigns during World War I to Cold War agitation over communist influence in the Labor movement implicated him in two of the ALP’s great splits. And now there is George Pell, Catholic Archbishop of Sydney, a cardinal and a man who is capable, as Mannix was, of arousing both hero worship and intense fear and loathing.

David Marr is not on the list of Australian living treasures, but perhaps he should be. Among our best journalists, he stands out as someone who has consistently challenged the powerful, at his best with forensic skill and deep research. Like other journalist–authors such as Anne Summers and George Megalogenis ...

In 1977, in three consecutive issues, the New Yorker published Hannah Arendt’s ‘Thinking’. Each part was called an ‘article’, a strangely modest, journalistic word in the face of the length of each part of the essay and the profound subject. Thirty-two years ago, the magazine showed curmudgeonly modesty: writers were named in small print at the foot of each ‘piece’, there was never, god forbid, a sub-editor’s catch-all under the title, no short biographies of the writers were printed, and there were never, ever, visual illustrations or photographs to accompany the text. The issue in which the first of Arendt’s ‘articles’ appeared included poetry by Mark Strand; the long book review was by George Steiner; Pauline Kael was the film reviewer; there were four Saul Steinberg drawings; and Andrew Porter reported on classical music. The list of names we revere could go on.