Mark McKenna

What the authors of these three wildly different books share is a gift for creating through language a kind of intimacy of presence, as though they were in the room with you. Emily Wilson’s much-awaited translation of The Iliad (W.W. Norton & Company) is a gorgeous, hefty hardback with substantial authorial commentary that manages to be both scholarly and engaging. The poem is translated into effortless-looking blank verse that reads like music. The Running Grave (Sphere) by Robert Galbraith (aka J.K. Rowling), the seventh novel in the Cormoran Strike crime series and one of the best so far, features Rowling’s gift for the creation of memorable characters and a cracking plot about a toxic religious cult. Charlotte Wood’s Stone Yard Devotional (Allen & Unwin, reviewed in this issue of ABR) lingers in the reader’s mind, with the haunting grammar of its title, the restrained artistry of its structure, and the elusive way that it explores modes of memory, grief, and regret.

This week, on the ABR podcast, we feature a special conversation between author and journalist David Marr, historian Mark McKenna and ABR’s Georgina Arnott, recorded in the middle of September 2023, one month out from the Voice referendum. The subject was David Marr’s new book, Killing for Country: A family story, which takes the reader to early nineteenth-century New South Wales and follows the bloodshed of invasion as it tracks north. Mark McKenna’s review of Killing for Country is published in the October issue of ABR.  

Forty-three years ago, David Marr – journalist, broadcaster, biographer, political commentator, and public intellectual – published his first book, a sharp, memorable biography of Garfield Barwick, former Liberal attorney-general and chief justice of the High Court. After the appearance of Patrick White: A life in 1991, long considered one of the best biographies ever written in Australia, he might well have followed the more predictable path of the serial biographer. But Marr’s trajectory has proved to be anything but predictable.

It was one of the most notorious episodes in the annals of Australian publishing. In September 1993, writing in Quadrant, Peter Ryan, the former director of Melbourne University Press (1962–87), publicly disowned Manning Clark’s six-volume A History of Australia. Clark had been dead for barely sixteen months. For scandalous copy and gossip-laden controversy, there was nothing to equal it, particularly when Ryan’s bombshell was dropped into a culture that was already polarised after more than a decade of the History Wars.

I’ve been fortunate to work with talented editors like Sally Heath (formerly with MUP and now with Thames & Hudson) and more recently with Chris Feik and Kirstie Innes-Will at Black Inc. I’d be lost without their close reading of my work and their suggestions for improvement. As Chris says, skilful editing helps to make any book the best version of itself.

The distinguished historian Mark McKenna has written an elegant and hungry book about the pull of Uluru, that place of mysterious significance to Australians, black and white. Of course, in recent times, the Uluru Statement from the Heart – the heart that had a stake driven through it the moment it was entrusted to the most powerful whites in Canberra – is a complicated domain of passion and polemic. McKenna’s work, pro-Aboriginal and postcolonial in spirit, is itself an addition to the long history of romancing Uluru, albeit with a focus on a hero who seems like an anti-hero by the time this book is done.

There is a well-meaning musician who performs intermittently in Central Australia. When he plays his hit song, he tries to augment the lyrics by chanting the ...

Originally published in German, Albrecht Dümling’s The Vanished Musicians: Jewish refugees in Australia (Peter Lang), a fascinating compendium of Jewish musicians who found refuge in Australia in the 1930s and 1940s, is now available in Australian Diana K. Weekes’s excellent translation ...

Jennifer Maiden's The Fox Petition: New Poems (Giramondo) conjures foxes 'whose eyes were ghosts with pity' and foxes of language that transform the world's headlines