Archive

William Kostakis

Jackie French explores the impact of World War I on both the home- and battlefronts in her extensively researched and earnestly written A Rose for the ANZAC Boys (Harper-Collins), which finds three young girls ditching the irrelevant deportment classes of an English boarding school to start a canteen in France for wounded soldiers. Barry Jonsberg’s Ironbark (Allen & Unwin), an uplifting read about facing inner demons and family, sees a sixteen-year-old city boy with Intermittent Explosive Disorder sentenced to a place worse than prison: his grandfather’s shack in rural Tasmania. On the ‘make-things-go-boom’ action side of the young adult spectrum, Jack Heath’s Money Run (Pan Macmillan), with its perfect mix of humour, suspense and attention to character, proves Heath’s expertise defies his age.

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and from every dead child a rifle with eyes,

and from every crime bullets are born

which will one day find

the bull’s eye of your hearts.

And you’ll ask: why doesn’t his poetry

speak of dreams and leaves

and the great volcanoes of his native land?

Come and see the blood in the streets.

Come and see

the blood in the streets.

Come and see the blood

in the streets!

So wrote Pablo Neruda, of the Spanish Civil War (‘I’m Explaining a Few Things’, 1947). These words could apply in any place where children are made to suffer and thus to hate. Randa Abdel-Fattah’s Where the Streets Had a Name is a book whose pages resonate with these themes, unflinchingly; remarkable because hers is a book written for children and about children – those living in the West Bank.

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'MODERN TIMES constantly challenges the reader to consider the nature of modernity and of modernism and its structure.’ Virginia Spate’s lucid preface to the volume articulates why this handsomely illustrated and well-researched book is such a ground-breaking history of Australian modernism. It acts as a companion volume to Modernism and Australia: Documents on Art Design and Architecture 1917–1967 (2007), which was an anthology of primary source documents including diaries, letters, talks and manifestos. These revealed Australia’s engagement with international modernist trends and the role of interior and fashion design in developing modernist principles. These developments occurred despite the Australian conservative government’s opposition to them, particularly when it came to the area of fine arts practice. Modern Times is aimed at a broader readership than its predecessor and is connected with a touring exhibition on show at Sydney’s Powerhouse Museum until 15 February 2009. The book includes twenty-five articles written by academics, artists and curators from a range of different disciplines, including visual art, design, architecture, animation, fashion, popular culture, film and photography. These articles are divided into five themes that cover abstraction, the body, the city, space age, and electric signs and spectacles.

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There are traces of a constant, oscillating motion of conscience in Sandy Fitts’s poetry. References to the burden of ‘history’ pit the poems, with ‘history’ standing for everything we need to address in the present, through the power of eloquence, but also in fear that such words are not enough. From the opening, prize-winning poem, ‘Waiting for Goya’, to the closing images of ‘Blue Mop’, the act of poetry emerges and is scrutinised for what it might do in the world:

 our figures leaning      toward each other

    to exchange a few uncertain words

about the mop-    utility-   aesthetics-

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Peter Bishop’s book on bridges is the latest in the Objekt series published by Reaktion. It joins other books on the factory, the aircraft, the motorcycle, the dam and the school. The series focuses on the last hundred years, although Bishop traces the story of the bridge back to the early nineteenth century. Bridge is not, however, a straightforward linear history. Instead, it seeks to examine ‘the bridge (bridging and bridge-ness), along with the cultural practices – from the civic to the military, architectural to engineering, artistic, poetic and philosophical – that have circulated through it over the past two hundred years, from the onset of modernity to the dawn of the new millennium’. The result is an interesting and accessible, though necessarily selective, account of bridges and their cultural significance. ... (read more)

A poet friend, getting wind that I was reviewing the two latest ‘Bests’ and wishing to satirise the reviewing platitudes that sometimes greet the arrival of such anthologies, offered the following advice: ‘Remember to say that both collections are a welcome addition to the literary landscape and that both editors have included some welcome new voices in Australian poetry.’ Peter Rose’s The Best Australian Poems 2008 and David Brooks’s The Best Australian Poetry 2008 provide commendable surveys of a year in Australian poetry. Both include ‘new voices’ as well as sonorous old ones. Variations in quality inevitably occur, but many of the ‘new’ offerings are excellent and few, if any, are duds. This can only be welcomed.

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Public passion and debate about Australia’s indigenous peoples ebb and flow. During the 1990s, Mabo, Wik, reconciliation and the Stolen Generations dominated public debate for months on end. Indigenous leaders such as Pat and Mick Dodson, Lowitja O’Donohue and Noel Pearson became familiar figures, prodding politicians and the public to remember unfinished business. As the official reconciliation process ground to a halt during the Howard government, Aboriginal issues receded into the background. They re-emerged spectacularly in 2006 with the cataloguing of widespread sexual and physical abuse in remote Aboriginal communities. This was in the lead-up to the government’s Emergency Intervention in the Northern Territory.

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There is an unfortunate tendency in contemporary fantasy for plots to become elongated, ungainly and unmanageable, much like teenage boys. Thankfully, Garth Nix’s The Keys to the Kingdom series is an exception, perhaps because the protagonist, Arthur Penhaligon, is not yet a teen-ager himself.

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Judith Armstrong

I want to recommend one book only: The Ferocious Summer: Palmer’s Penguins and the Warming of Australia (Allen & Unwin), by Meredith Hooper, an Australian woman living in Cambridge. This is a lovely book, beautifully written, with deep concern for both science and story. It is a study of the effects of rising temperatures on the small Adélie penguins at Palmer Station on Anvers Island in the Antarctic. How, against all odds, did The Ferocious Summer so entrance me? It is not just the arresting message it carries – that climate change is something specific and local, delivering ‘sudden blows or glancing whacks’, rather than throwing a warm blanket over the earth. Its sad effects on baby penguins (low birthweight, failed eggs) is the central evidence in this unfolding reality, but so is that of the colony of volunteer scientists and support people, who brave blizzards to make their observations, and live in accommodation so limited that per-sonal space is almost non-existent. Hooper’s ability to convey in sensitive and singular language the intimate interaction between nature and humans, birds and researchers, the sea, the ice and the land, is deeply moving. The book was entered in a state literary competition; the five-person panel, of which I was the convenor, was unanimous in awarding it first prize. But, because the author is unknown here, the news sank like a stone. This is my attempt to publicise a superb piece of writing.

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What if Kenneth Myer, not Sir John Kerr, had been Australia’s governor-general in 1975? There would still have been storms in Canberra, but no intervention, no Dismissal. Readers of Sue Ebury’s fascinating biography of Myer (1921–92) may be tempted to play the ‘what if’ game, speculating on how Gough Whitlam might have used a full second term as prime minister.

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