Archive

On his sixteenth birthday, Peter Hithersay discovers that his father is not his father. His mother’s husband, Rodney, has wanted to dispel this misunderstanding for a long time, but it has taken years for Henrietta to say what has needed to be said.

In 1960 Henrietta was sent as a substitute to compete in a Bach festival in Leipzig, one of the most musical cities in the world. Bach lived there for twenty-seven years; Wagner was born there; other musical notables, such as Grieg and Schumann, have been associated with the city. But Leipzig, two hours from Berlin, spent forty years last century at the heart of the GDR, the police state of East Germany. Leipzig was the hub of one of the most unmusical régimes imaginable, and became a stronghold for the notorious secret police, the Stasi.

Between the ages of twelve and seventeen, the name Morrison seemed to be almost everywhere I looked. Scraping and stumbling through Geelong College, I attended assemblies in Morrison Hall, was a member of Morrison House, and daily passed a trophy cabinet in which was exhibited a copy of Morrison of Peking (1967), Cyril Pearl’s biography of George Ernest ‘Chinese’ Morrison (1862–1920), a scion of the founding family in whom its pride was visible.

It would be nice to say that the example of Morrison’s life spurred me to tackle journalism, what he called ‘the noblest of all the professions’, with its emphasis on ‘energy, courage, temperance and truthfulness’. But truth be told, he was at the time a little too exotic to take in – as Peter Thompson and Robert Macklin put it in their new biography, ‘a Scot by breeding, an Australian by birth and experience, British imperialist by choice and a Sinophile by compulsion’. Only later did I find myself bewitched by An Australian in China (1895), the vivid pedestrian’s panorama that Morrison wrote about his foot slog from Shanghai to Rangoon, which became, as it were, his successful job application to The Times.

The history of fifteenth-century Florence is indissolubly linked to the Medici, the political bosses and patrons of the arts who presided over the city-state’s Renaissance. The names of Cosimo, Lorenzo and Giovanni, known to God and the world as Pope Leo X, immediately come to the fore in any discussion of Renaissance Italy. Rarely heard are the names of their female kin: Contessa de’ Bardi, wife of Cosimo the Elder and republican matron; Lucrezia Tornabuoni, mother of Lorenzo il Magnifico, and vernacular poet; Lorenzo’s daughters; Lucrezia Medici Salviati and Contessa Medici Ridolfi; his daughter-in-law, the despised Alfonsina Orsini Medici; or of his granddaughter, Maria Salviati Medici, who worked so assiduously to secure the future of her son, Cosimo, Grand Duke of Florence.

In The Medici Women, Natalie Tomas seeks to explore the political and cultural influence of these Florentine matriarchs who, by birth or marriage, were at the centre of the Medici clan. She investigates why and how certain Medici women were able to utilise power and influence contemporary perceptions and representations of their authority.

Lam Khi Try is a Cambodian journalist who wrote articles exposing corruption, illegal logging and political assassinations by the Cambodian government. He received a threatening letter from the Cambodian prime minister and death threats from anonymous callers. After the director at Lam’s newspaper died in suspicious circumstances, the staff became frightened and the newspaper was closed. Lam was followed constantly, and he and his family went into hiding. Later, he fled Cambodia and came to Australia for refuge, followed by his wife Nary. They left their children in the care of relatives, with the intention of bringing them safely to Australia.

Greenly, intensely, oddly
It is the day you wake up walking in
A scape you wandered bluntly through
Several hundred dreams ago
                                       or so:

One sun-filled Saturday in spring 2000, I wandered through Salamanca market, in and around the historic sandstone buildings on Hobart’s waterfront. After a long absence, I expected the arts and crafts, antiques, and books amid tourists and the local caffe latte set. What surprised me were stalls of beautiful fresh fruit and vegetables, grown and sold by smiling ethnic Hmong. The bright front cover of The Hmong of Australia zooms into that image of my memory.

It is pleasing to learn from sociologist Roberta Julian that, for Tasmanians, the Hmong ‘symbolise a new openness to Asia’. Yet it is disconcerting to be told: ‘Insofar as the Hmong are accepted as Tasmanians, however, their identity has become commodified, trivialised and marginalised … a superficial Hmong identity.’ Any more so than that of the Han Chinese and Italian vendors, who draw camera-clicking busloads to Melbourne’s Queen Victoria Market? Or that of the colourfully clad Hmong minority in China’s southern Yunnan province, ancestral homeland of the Hmong?

In ‘St Patrick’s College’ a poem that appears in his 1975 collection Immigrant Chronicle, Peter Skrzynecki recalls the last day of school, when ‘mass was offered up for our departing intentions’, after which the young Peter makes his way home, ‘taking the right-hand turn out of Edgar Street for good’. It is characteristic of Skrzynecki that he should locate such a crucial turning point in his life so precisely, naming the very street that led him to it. It is this impulse to map, to plot the coordinates of a life, that lies behind much of Skrzynecki’s work, forming a grid by which he reads the past and makes sense of it. ‘The streets of Regents Park,’ he says elsewhere, ‘run through my blood /even though I don’t live there anymore’.

Kathryn Lomer’s Extraction of Arrows is a fine first book. It is more unified than most, but with a varied enough poetic base to make one interested in the poems that Lomer will write in the future. Its essential feature is a tight focus on the self; as lyric poetry should be, it is ‘self-centred’, without any of the pejorative overtones of that phrase. At almost all points, we are aware of the poet herself, a body existing alongside a compendium of moods, experiences and emotions. It is a carefully observed body, especially in a poem such as ‘Linea Nigra’, which begins:

These eleven papers are the product of the most recent of the Boston, Melbourne, Oxford Conversazione on Culture and Society, which, Leonie Kramer tells us in her brief introduction, has succeeded in attracting ‘leading scholars and experts in their fields’ and in remaining distinguished by ‘freedom from political restraints and the narrow debates that these engender’. However, there’s not much sign here of the ‘informal intensive and extended probing of issues’, or of ‘interaction with speakers over two days’. None of the discussion (one presumes there was discussion) is reproduced, and I counted only two cross-references.

When is a suburb not a suburb? When it is an inner-urban locale with a distinctive café culture, its own postcode and football team, but no town all. And here’s another: how did an Old English word meaning ‘churl’s farm’ come to be assigned to a swanky inner suburb of a major city in the southern hemisphere? These and numerous other questions are answered in Carlton: A History. This encyclopedic book tells a fascinating story that resonates way beyond its notional suburban boundaries.

As Melbourne grew, its suburbs became too vast for one local government body to administer, and areas were carved off to form separate municipalities: Richmond, Collingwood, Fitzroy, South Melbourne, North Melbourne. Carlton, however, despite periodic agitation from its residents, has remained within the boundaries of the Melbourne City Council.