Archive

The Sydney Morning Herald has been ‘Celebrating 175 Years’ all year. The words adorn every front page; the Herald ran a number of commemorative features to mark the actual anniversary on April 18; and The Big Picture: Diary of a Nation, consisting of essays by journalists and photographs from the Herald’s magnificent photographic library, has been published (see John Thompson’s review in the March issue).

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A magnet on my fridge has a cartoon image of a Tasmanian Devil and reads: ‘Send Tassie more Tourists – the last ones were delicious!’ David Owen and David Pemberton’s book shows how flawed the stereotype of the Devil as an insatiable, aggressive animal is. They reveal the Devil’s complex nature in this well-researched and detailed work, which is the first on the Devil to be published.

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I first met Sir Bruce Williams as a wise and wry voice in sceptical register at meetings of the Senate and its Finance Committee at the University of Sydney in the late 1990s. His service to these bodies followed a distinguished career as an academic, economist, university administrator and adviser to governments on policy formulation and implementation in higher education, science and technology. His is a public life that now extends over half a century and spans both Australia and the UK. The most prominent segment in Williams’s long and influential association with higher education in Australia is his time as vice-chancellor of the University of Sydney from 1967 to 1981, a period that he characterises as ‘discontent and disruption’: student and staff ‘revolt’, the protest movements against the Vietnam War and apartheid. It also saw the beginning to some modifications of the university’s hierarchical and gender structures ... (read more)

This book consists of sixteen essays based on papers delivered at the symposium of the Australian Academy of the Humanities held in Hobart in 2004. The title of the book was the theme of the symposium. A conference must have a theme, of course, or no one would ever fund the participants, but individual speakers do not always address it, or they do so tangentially. We have all been at conferences where the relationship of the speaker’s paper to the theme is the same as that between the ugly sisters’ feet and Cinderella’s dancing slipper – a great deal of stretching and contorting to make the text fit the theme, and vice versa. This is why conference proceedings rarely make good books.

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Tracing both the frisson between city and outback realities and the impact of politics on the music scene, Singing Australian is not only about the intersections between folk and country music and their appropriations from a raft of other genres; it is also an insightful chronicle of Australia’s struggle for identity as a post-colonial society, the search for nationhood through song and an expansive panorama of this country’s social history.

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The annual series of lectures held at Melbourne’s Centre for Contemporary Photography are a lively tradition on the city’s cultural calendar, and are noted for both their critical currency and diversity of voices. This collection of essays and images, selected from lectures and exhibitions held at CCP from 2000–4, continues the allied tradition of publications that record selected papers from the series. Its time-frame also marks Daniel Palmer’s energetic tenure as coordinator of the lectures, during which time the Centre played host to a wide range of critics, practitioners, curators and academics.

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These writer’s scribblings, handsomely reproduced, cover two distinct periods in Murray Bail’s life: London from 1970 to 1974; and Sydney from 1988 to 2003. The notebooks from the London period, which represent roughly two-thirds of this book, were previously published as Longhand: A Writer’s Notebook (1989). While readers may find some interest in comparing the formative and the mature writer, the older Bail’s reflections on ageing and death represent the most consistently penetrating writing in Notebooks.

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John Hirst is a throwback. I don’t mean in his political views, but in his sense of his duty as an historian. He belongs to a tradition which, in this country, goes back to the 1870s and 1880s, when the Australian colonies began to feel the influence of German ideas about the right relationship between the humanities and the state. Today it is a tradition increasingly hard to maintain. Under this rubric, both historians and public servants are meant to offer critical and constructive argument about present events and the destiny of the nation. Henry Parkes was an historian of sorts, and he was happy to spend government money on the underpinnings of historical scholarship in Australia. The Historical Records of New South Wales was one obvious result, and that effort, in itself, involved close cooperation between bureaucrats and scholars. Alfred Deakin was likewise a man of considerable scholarship (and more sophisticated than Parkes), whose reading shaped his ideas about national destiny, and who nourished a similar outlook at the bureaucratic level.

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After attaining a low-luminosity arts degree, I worked for a year as a handyman in my university’s Research School of Physical Sciences. This was in 1972, when the new particle accelerator was being installed in its massive concrete tower; its assembly made my humble handyman job one of the most intriguing and happy employments I have had. We bolted together the sandblasted steel pipes for the SF6 (sulphur hexafluoride) coolant, first larding their joints with gaskets of white gunk. In a lofty workshop dominated by the monstrous ex-Krupps steel mill (a German war reparation), we hefted the odd magnetron on chainblocks that our master-craftsmen might more conveniently prepare it for installation. We crawled into the cavernous interior of the accelerator’s ‘tank’ to grind at weld-burrs until the steel surface had no tiny irregularity to which the fourteen million volts intended for the apparatus could distractingly zap. To this smooth surface we then applied a silver paint until we stood, spattered angels encompassed by our weird reflective heaven. We watched the precision tubes being installed through the centre of this tank by lanky experts from Wisconsin, knowing how, within these conduits, the particles were to be accelerated by that impressive voltage toward targets the size of my thumbnail in collisions that would explain the universe finely.

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Okay, I’ll take up Kevin Murray’s challenge in his poem ‘Freelance’ – that the reviewer is ‘a rogue knight / circling other men’s dragons’, though, like Max Richards, I reject Walter Benjamin’s Romantic formulation of criticism as a ‘fulfilment / of the artwork’. Each of these dragons has some fine points; all are modest in their own ways and illustrate Shane McCauley’s gloss of Robert Frost, ‘having the grace / to say that perhaps poetry doesn’t matter very much’. But in different ways, all three focus intently on the compelling significance of the minute, nuanced moments and details as a means of exploring big questions about ageing/mortality; the revelation and casualness of nature; the meaningfulness of history at both personal and public levels; and the functions and significance of art and writing. All are in various ways influenced by both the Romanticism of Wordsworth and Coleridge (particularly the ‘emotion recollected in tranquillity’ aspect) as well as the modernist urban scepticism of T.S. Eliot. These are mannerly dragons. None will scorch the gentil reader-knight. Nor is there a hint of halitosis.

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