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‘As far as books are concerned, I find life no help at all. Books grow out of other books.’ So said the great Ivy Compton-Burnett, and her comment is at least partly pertinent in relation to Lloyd Jones’s luminous Mister Pip, trailing as it does clouds of Dickensian glory. Increasingly, there seems to be a sub-genre of novels that have their roots in other novels. Some of these are vile, like Emma Tennant’s vulgarly opportunist Pemberley Revisited: or Pride and Prejudice Continued (2005) and Emma in Love (1996), which traduce two great novels. Others work more evocatively, like Jean Rhys’s Wide Sargasso Sea (1966), a post-colonial reimagining of Jane Eyre from the point of view of the madwoman in the attic, or Peter Carey’s Jack Maggs (1997), which, with elliptic brilliance, re-situates Magwitch at the heart of the narrative of Great Expectations (1860–61).

On the eve of the recent history summit, Education Minister Julie Bishop told an audience, which included some notable historians, that history was not peace studies, nor was it ‘social justice awareness week’, nor, for that matter, ‘conscious-raising about ecological sustainability’. History, she declared, was simply history: though when she went on to assert that ‘there was much to be proud of in the history of Australia’, it did seem that she might have an agenda of her own tucked away in her ideological handbag

Anyone who has read Simone Lazaroo’s novel The Australian Fiancé (2000) will find many echoes in her latest work, The Travel Writer. That earlier book follows a young Eurasian woman, who had been kept by the Japanese as a comfort woman during the war, while she is being courted by a wealthy Australian. He lures her back to Broome with the promise of marriage, but the relationship collapses under the twin burdens of Australian racism and her traumatic past, which comes back to haunt her in devastating ways.

Reading Mark Twain on Australia in the 1890s is a bit like watching Shane Warne bowl these days: you sense the playing up to the audience and an undignified element of hustle; a tendency to rely on the old tricks to fill the space and manufacture the laughs/wickets. And yet there’s no doubting the copiousness of the art, no resisting the tarnished genius on display. Sure, it would be nice to have more of the early Twain’s concentrated wit, and less reliance on showmanship, but to unwish this account of his antipodean travels would be aesthetically, emotionally, even morally wrong.

The timing of Peter Manning’s book, in which he seeks more Australian empathy with Muslims, was exquisite. The mufti of Australia in September urged the opposite, telling his flock that Jews and Christians were ‘the most evil of God’s creation on the face of the earth’. He also had colourful things to say about women being responsible if men turn to crime, or commit rape or adultery. Of course, the media overlooked Taj Din al-Hilaly’s interesting view that the axis of evil is Jewish and Christian. They also ignored his peculiar take on criminology. As usual, sex was what sold, giving the government a useful diversion from its floundering on climate change and the quagmire in Iraq.

Donald Friend (1915–89) was one of Australia’s most prolific and widely travelled artists. Forty-four of his diaries are held in the National Library of Australia’s Manuscript Collection (individual diaries are held by the National Gallery of Australia and the James Hardie Library of Australian Fine Arts at the State Library of Queensland). The National Library also has items that are part of the important body of work that Friend produced in handcrafting thirteen lavishly illustrated manuscripts, largely in the last two decades of his life: ‘Birds from the Magic Mountain’; ‘Ayam-Ayam Kesayangan, Volume 3’; and ‘The Story of Jonah’ and ‘Bumbooziana’. These projects saw him develop the skills that he had honed for nearly forty years, in his illustrated diaries and earlier publishing ventures, into a highly sophisticated artistic practice, not unlike that of a medieval calligrapher but with the licence to do as he wanted.

One of the best essays in the excellent spring issue of Griffith Review: The Next Big Thing, is a sustained attack by Griffith University academic Mark Bahnisch on the lazy clichés of ‘generation-journalism’. In an issue devoted to an examination of generational similarities and conflicts, Bahnisch calmly reminds us that not everyone living in the 1960s was a hell-raising radical, just as not all young people today fit the conservative–materialist stereotype the media is so fond of.

Fancy an editor in this post-whatnot era using the word ‘great’ to describe the poems he publishes. Lord save us! It is almost as though recent decades hadn’t been, and we still wore the mild woolly clothing of the postwar years. But here is the Canberra poet and longtime schoolteacher Geoff Page offering us a high road through poetry in English: a series of touchstones, as our serious uncle Matthew Arnold might have said.

Those who come after

Nine months ago, in association with the Copyright Agency Limited (CAL), ABR announced the creation of a major new annual essay prize. In doing so we were conscious of the importance of the genre and of ABR’s long commitment to its preservation and promulgation. We set out to attract entries from the widest range of Australian writers (not just celebrated essayists). In order to entice a distinguished field, the Calibre Prize was valued at $10,000.

A book of letters between ‘Bert’ and ‘Ned’ resonates nicely with the famous letters of Smike to Bulldog, published in 1946, the year young Albert Tucker completed his first images of Modern Evil, and Sidney Nolan began his first Ned Kelly paintings. The fascination of this correspondence, between artists destined to be as famous for their period as Arthur Streeton and Tom Roberts for theirs, is that it shows them flirting. ‘Bert’ tries to be graceful, ‘Ned’ to be scrupulous; both with an eye to history.