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Contemporary Aboriginal Art: A guide to the rebirth of an ancient culture

by Susan McCulloch

Allen & Unwin, 248 pp, $39.95 pb

1 86508 305 4

Contemporary Aboriginal Art (first published in 1999) contains a wealth of information for those interested in the history, practice, and culture of Aboriginal art. By its very nature, Aboriginal art is constantly changing and evolving, and, in this revised edition, Susan McCulloch details new developments in already well-established communities, and the emergence of some entirely new movements. McCulloch, visual arts writer for The Australian, has travelled extensively to the Kimberley, Central Australia, Arnhem Land and Far North Queensland, and her book provides first-hand accounts of Aboriginal artists and the works they are creating.

Beautifully illustrated, Contemporary Aboriginal Art also contains a comprehensive directory of art centres and galleries, a buyer’s guide, and a listing of recommended readings.

David Foster has a way with subject matter in his novels. In his dealings with the arcane (The Adventures of Christian Rosy Cross and Rosicrucianism) and the quotidian (the postal protocol of Dog Rock) alike, he has consistently shown the knack of discovering new areas to entertain and inform us. He is mightily intolerant of the glib social overview by scientist or politician and, in his capacity as Juvenalian satirist, he possesses all the qualifications, including a keen eye for human folly, the ability to manipulate and hijack his audience, and a readiness to be mordant and merciless while at the same retaining an unrelenting hold over those who read his books.

For a reform politician, these three books should be compulsory reading. They are not, for such a reader, heartening. But they do ‘serve in many respects to discover, to confute, to forewarn, and to illustrate’.

Brian Dale’s Ascent to Power, very much less than fair to Neville Wran, is an unintended expose of the nature of political journalism in this country and its practitioners.

The federal government’s proposal for a multicultural television network has sparked off once more a row about the nature of the Australian national identity.

The opponents of the network seem to fear that it will cause all kinds of divisions in our community by emphasising the different places and cultures to which we owe our origins. They would like to restore the myth of a single nation, bounded and defended by a single shoreline (plus, of course, Tasmania), giving allegiance to a single flag and monarch and united by a single tongue. The myth is glorious in its simplicity, and marred only by the fact that it corresponds to no historical truth.

While the art of the ghost writer has a long and honorable history, the court case concerning the extent of Graham Yallop’s responsibility for the book on the recent test series raises a number of general issues apart from the outcome of this particular dispute. At its best, the practice of ghost writing enables the general public to share the experiences of people who have had interesting lives but do not command the verbal skills necessary to constructing a book. Yet the ghost writer may also be the unacknowledged creator of the characters who figure in his work. Few politicians now will risk either the off-the-cuff remark or even the considered epistle, so that the contest of political leadership can degenerate to a trial of speechwriters’ skills. The most proficient comedians are, of course, creatures of their scriptwriters, but they at least exact nothing from us but our laughs. As our sportsmen and women become media figures there is a danger that the players as well as the game will be taken over by the media barons, with the ghost writer acting as puppet master. Fortunately, cricket, a sport which seems able to elicit passions altogether out of proportions with the leisurely pace of the game, has always had players who are as much at home with words as with bat and ball. One of these, Jack Fingleton, was the subject of a review last month; another, Frank Tyson, is a regular contributor to our pages. Their individuality provides some security that the age of the manufactured human is not yet quite triumphant. It would seem, however, that in a world of instant media heroes, publishers have a responsibility to their readers to tell them whether the words they are reading belong to the ostensible author or to an unseen ghost.

It is usually true to say that poetry is difficult and criticism easy. In the present case, I am not sure that this is quite so true. What can any critic sensibly say about the present batch of books which range from Bruce Dawe ‘s Collected Poems 1954–1978, Sometimes Gladness, to reprints of minor colonial verse and includes the gentle nature mysticism of John Anderson’s The Blue Gum Smokes a long Cigar, reverently illustrated by Ned Johnson and produced by Rigmarole of the Hours, and the ambitious regionalism of the two books of Hunter Valley Poets, IV and V, edited by Norman Talbot?

I am writing this review in a cafe in the main street of Gympie, a town founded on gold discoveries in 1867. It is 200 kilometres north of Brisbane and seventy kilometres from the coast. Frontier types abound in a town population of 11,000 and in farming communities around. Rough, craggy, sunburnt faces, wizened facial muscles, arms creased by years of hard work and a determined walk. In their everyday habits they exhibit loyalty to friends, a capacity to improvise and a contempt for blacks. And these are the women.

As our feminist historians have pointed out, there are few women in Russel Ward’s The Australian Legend, first published in 1958. Indeed in the index there are only a handful of entries: ‘on goldfields’, ‘prostitution’ or and ‘shortage of, in bush’, the last being the longest entry.

The Bulletin, The Bulletin,

The journalistic Javelin,

The paper all the humor’s in

The paper every rumor’s in

The paper to inspire a grin

The Bulletin. The Bulletin.

(The Bulletin, 28 May 1887)

Though I’d been looking forward to this book I had doubts about reviewing it. By definition it must touch on personal loyalties and friendships, and then, too, I had preconceptions about Bulletin history.

Within three hours motoring of Sydney is a wild and lovely valley of forgotten history, where pioneer settlers sleep in forlornly neglected small cemeteries, or whose headstones mark their resting place on the original land grants. The Macdonald River meanders shallowly through farmlands and past a few scattered cottages; above tower the enclosing mountains bush-clad and rock-strewn; overall there seems to emanate a strangely disturbing restlessness as if the disembodied spirits of the first pioneers still exert an unseen influence in the once life-pulsating Valley.

About twenty years ago, we were offered a house on Stradbroke Island for a winter holiday. Cheshire, the publishing company I had recently left teaching to work for, was also a bookseller; so not only was there a fortnight, kids willing, to catch up on all those books we had meant to read, but they were available at staff discount.

Before we left, I went through Cheshire’s paperback section like Mrs Marcos through a shoe shop. Lots of novels we had heard about, a couple of unknowns with rather promising covers and, while I was about it – to assuage the guilt of the promising covers – The Tyranny of Distance. I had heard it was good and had meant to read it one day.