Archive

In a response to Peter Weir’s film Gallipoli published in Quadrant in 1982, Gerard Henderson observed that ‘recounting the story of the Anzacs has become something of a growth industry’. Five years on, the Gallipoli industry shows no sign of a downturn. The salvaging and publication of war diaries, letters and manuscripts that had long mouldered in museums, libraries and attics, the spate of ‘epic’ teledramas and ersatz war fiction (like Jack Bennett’s spin-off from the aforesaid movie), new historical studies and the resurrection of old ones such as C. E. W. Bean’s Official History and, at the other end of the scale, John Laffin’s Digger: The story of the Australian soldier (its subtitle magically changed to ‘The legend of the Australian soldier’), all attest to the enduring appeal of Australia’s military exploits to writers and filmmakers and to the subject’s ability to tap a popular audience.

Ida Mann’s autobiography reminded me a little of the kind of speech that well-known elderly women tend to give to girls’ speech nights – full of zest, homely admonition, and assurances to the rows of upturned young faces that they’ll get out of life what they put in.

Not being of an introspective temperament, nor an accomplished portraitist, I find it easier to talk about my milieu than myself. I spent my childhood in northern New South Wales. My mother’s people had come to farm in the district around the tum of the century, and most of her family had married, lived and died there. Though my father was a newcomer from the coast, he too had relatives in the town. For some years my younger brother and I were the babies of the kin group.

More than anything else, The Secret of Hanging Rock is an exercise in marketing strategies and packaging. The real question, what happened to the girls, is in the midst of this finally of little importance, although it could have been very important. Indeed, the final, previously unpublished chapter of Picnic at Hanging Rock is only one of four pieces of writing in the publishers’ package, each of which tries to be as important as the next.

I have never met Vivian Smith but respect him awfully. The remarkable thing about his editing of this new anthology of Australian poetry is that his own work is not in it. This is unprecedented among recent anthologies, and may of course be a printing error. Even that excellent poet of Buddhist leanings, Robert Gray, was unable to achieve such perfect nirvana some years back in his Younger Australian Poets. I think Vivian Smith could at least have included here his very fine poems ‘The Names’, which appeared in the most recent Mattara Award anthology.

David Foster is obsessed with opposites. He likes to play polarities of place and value against each other: in The Pure Land he contrasted Katoomba and Philadelphia, the sentimental and the intellectual; in Plumbum he put Canberra against Calcutta, the rational against the spiritual. At a talk in Canberra several years ago, he commented that it was the symmetry of the words Canberra and Calcutta that attracted him to the idea of the cities as polarities. Words themselves invite Foster to play games with meaning and suggestion, and he finds an endless source of absurdity in the gap between actuality and the words chosen to label it.

Fiction which is well-choreographed is difficult to resist. Joan London’s first collection of short stories, Sister Ships, is a dancerly go at mimesis; poised, unerring, it keeps its promises. And to run the tautological line between ‘literature’ and life, as all writing must, reminds us of the possibility for faux pas as well as the pas de deux; in one instance, an amnesia as to what has already been said, and in the other, stories which are so gracefully designed that they can say the same thing twice, or more, and we remember and witness such repetitions with pleasure.

Much that is published on the Centre is from the perspective of the jet-and-chopper journalist, so it is with sheer delight that one greets Man from Arltunga, written from the perspective of a local and a bushman. The author’s knowledge of this country is of a rare quality. Not only is he interested in the White settlement of the area but he also has a broader appreciation for the prehistory and for the Black version of their history. In the thirteen years that Dick Kimber has lived in the Centre he has travelled extensively with Aboriginal people through their ancestral country. He has travelled the Aboriginal way, with Aboriginal navigators, journeying slowly, digressing for relatives, or for bush tucker, or for ceremonial business. His first-hand knowledge together with his affinity for the country made him an ideal companion for Walter Smith on their journey to record Walter’s story.

Brett D’Arcy’s novel, arrestingly titled The Mindless Ferocity of Sharks, is one of the most unusual and accomplished to be published in Australia for years. The setting is a decaying town called the Bay on the coast of Western Australia, south of Perth. Its abattoir and tanneries have long since closed. The locals are sufficiently hostile to have fended off development – so far. They endure the summer invasion of the ‘townies’ who come for the great surfing. During the rest of the year, they enjoy it without interruption.

Contemporary Australian literature was among the less obscure topics discussed at the recent Modern Language Association convention held in New York. About 15,000 delegates came to the bazaar, some looking for jobs or friends, others attending a boggling array of literary discussions on bat fantasy in Dickens, the future of East European nature poetry and the shape of language in Thea Astley’s work. This last one was a fine lecture given by Robert Ross, tireless president of the American Association for Australian Literary Studies, which will hold its own conference in March at Penn State University. Marcia Allentuck gave a lively talk about Australian Yiddish literature – in particular Herz Bergner’s Light and Shadows, which portrayed the bitter angst of the immigrant almost thirty years before the current wave of immigrant writing.