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This edition of Arena Journal is essentially an extended critique of neo-liberalism. In his editorial, John Hinkson argues that neo-liberal thought ‘carries a new way of life that distances us from the past, in part through the promise of a cornucopia of commodities’. As Hinkson and the various contributors suggest, though, this phenomenon really ‘threatens cultural disaster for everyone’.

Nine years ago Oxford University Press (UK) abandoned its vaunted poetry series, the Oxford Poets. This was a bitter business, much criticised around the world. Among the featured poets were Basil Bunting, Fleur Adcock, D.J. Enright and Gwen Harwood. Much of Peter Porter’s poetry appeared in the series, including his Collected Poems (1999), published just before the controversial sell-off. Some of the original poets, and collections, now appear in Oxford-Poets, an imprint of Carcanet Press. These include Joseph Brodsky’s Collected Poems in English and Elaine Feinstein’s great edition of Marina Tsvetaeva’s Selected Poems. Chris Wallace-Crabbe’s new collection, Telling a Hawk from a Handsaw, appears in Oxford Poets. Readers will recognise several poems which first appeared in ABR. Peter Porter is quoted on the back cover: ‘[Chris Wallace-Crabbe’s] allies are words and he uses them with the care of a surgeon and the flair of a conjuror.’

Jaynie Anderson, the third Herald Professor of Fine Arts at the University of Melbourne, initiated the study of Australian art historiography with fine accounts of the three scholars – Ursula Hoff, Franz Philipp and Joseph Burke – who form the focus of this book. Surprisingly, Professor Anderson’s contributions are barely mentioned, and she is not listed among the fifty-five people Sheridan Palmer has consulted. Some published memoirs of past students of Philipp and Burke go unmentioned in the text and are omitted from the bibliography. None of this encourages.

In her editorial, Gina Mercer observes that this ‘is a decidedly poetic edition of Island’. Mercer bids farewell to poetry editor James Charlton, and announces the 2008 Gwen Harwood Poetry Prize. Also, the journal showcases the work of writers who are committed to what Mercer refers to as ‘the joyous and endangered art of poetry’.

Antoine Capet’s pithy observation that commemoration is the continuation of history by other means neatly defines the focus of Peter Stanley’s latest book and the problem that he sets out to grapple with. The recently successful advocacy of a ‘Battle for Australia’ annual commemoration flies in the face of the historical record and the evidence that supports it, but the advocates of the popular notion that the Japanese stood poised to invade Australia in 1942 have never allowed the facts to get in the way of a firmly rooted belief.

Setting the record straight

Dear Editor,

I have to write in support of your reviewer, Nicholas Brown, in expressing reservations about the speculative nature of much of the material in Susanna de Vries’s Desert Queen: The Many Lives and Loves of Daisy Bates (April 2008). I judge only by her treatment of Ernestine Hill (whom I knew very well as my mother’s cousin, and for whom I am literary executor). Since some people are proposing a biography of Ernestine, it is most important to set the record straight.

There was never any parallel between Ernestine’s pregnancy and that of the typical ‘girls’ of that period. An abortion was never even considered. She was delighted with her pregnancy and recorded that the birth of her son, Robert, was the ‘happiest day of my life’.

In the beginning, says a much-repeated joke, was The Plan. Deemed excellent, at first, it passed through many reinterpretations at successive levels of bureaucracy, and ended up being derided as a crock of shit. Britain’s plan for reconstructing Iraq in 2003 might have met the same fate, only there wasn’t one. Don’t laugh: Australia had no plan either, excellent or crock.

In 1880, John Peter Russell left Sydney to seek an artistic education and, like many painters of the time, ended up in Paris. Vincent van Gogh also migrated to the city’s ateliers, and in 1886 they met. The friendship that developed between the twenty-eight-year-old Australian and the thirty-three-year-old Dutchman continued until the latter’s death four years later. Russell painted a penetrating portrait of Van Gogh that captures both the intensity and untrusting nature of his mentally vulnerable subject. The two men exchanged letters, and Van Gogh sent Russell sketches and photographs.

Anthony Lynch, enterprising editor of the notable but short-lived Space magazine, also produces signed, limited-edition chapbooks under the moniker of Whitmore Press. Paul Kane’s A Slant of Light and Brendan Ryan’s A Tight Circle join a list that features Maria Takolander’s Narcissism and Cameron Lowe’s Throwing Stones at the Sun (both 2005).