The ABR Podcast

In this special episode of The ABR Podcast, Peter Rose reads the second and concluding instalment of his 2021 diary, taking us from July to December. These entries continue his chronicle of life under rolling lockdowns – not only for himself, but also for his mother, Elsie, who had moved into aged care earlier that year because of her declining health. Against the arrhythmic schedule of closures and prohibitions, faint tracings of the pre-pandemical world appear: birthday celebrations, an English batting collapse, email trouble, a high five. Written under a cloud of personal and collective uncertainty, these diaries record a son’s observance of his mother’s last days. Elsie Rose died at the age of ninety-five on 15 March 2022.

Author and scholar Kevin Birmingham has shown that books as much as people are worthy subjects of biography. This year he has followed up The Most Dangerous Book, his award-winning account of the battle to get James Joyce’s Ulysses published, with The Sinner and the Saint, a book about the genesis of another classic: Crime and Punishment. In this week’s episode of The ABR Podcast, Geordie Williamson reads his review of Birmingham’s latest study, one which ‘brings microscopic detail and a sense of drama to the composition’ of Fyodor Dostoevsky’s masterpiece.

Race, gender, class, sexuality – categories of identity have become central to not only our understanding of politics, but also our appreciation of art. Has the prominence of these categories, however, begun to circumscribe the achievements of writers celebrated on the basis of their identity? In this episode of The ABR Podcast, Mindy Gill reads her cover feature from the March issue. By parsing the rhetoric with which non-white writers are evaluated by reviewers, Gill shrewdly observes that in equating marginalisation with authenticity we do writers no favours. For in having their cultural background valued above all else, writers are being tacitly encouraged to eschew refinements of style and technique for a verisimilitude that often borders on caricature.

For his sins, Peter Rose has always kept a diary. Over the years, ABR has occasionally published extracts, which have tended to consist of annual highlights laced with gossip and humour. The 2021 instalment is rather different in tone. The lockdowns occasioned by the pandemic also coincided with a marked deterioration in the health of his mother, who moved into aged care in March last year. 

Best known for films such as Robocop (1987), Basic Instinct (1992), and Showgirls (1995), the Dutch director Paul Verhoeven has made his name as a provocateur whose lurid social satires are infused with campy violence and heady eroticism. Having tackled the American military-industrial complex and the Las Vegas sex industry, Verhoeven now takes on an even bigger institution: the Catholic Church. His new film, Benedetta, charts the fallout from the liaison between two young nuns in a seventeenth-century Italian convent. In this week’s podcast, listen to Miles Pattenden read his review of the film for ABR Arts. As Pattenden notes, ‘those who buy their tickets for the soupçons of Sapphic frottage are unlikely to be disappointed’.

American poet Tracy K. Smith was the twenty-second Poet Laureate of the United States, and winner of the Pulitzer Prize for Poetry for her 2011 volume Life on Mars. Such Color is a collection of her best poems from her wide-ranging career, before culminating in a selection of newly published poems. In Felicity Plunkett’s review, she considers the breadth of Smith’s oeuvre and the undercurrent of water throughout, writing: ‘Smith’s image of creative marine energy recalls Sylvia Plath’s image of words’ “indefatigable hooftaps”, echoing as they carry meaning outwards. In Plath’s case, as in Smith’s, one direction is seawards.’

‘I would like to write about dominance, revulsion, separation, the horrible struggles between people who love each other,’ wrote Helen Garner, foreshadowing How to End a Story, the final instalment of her published diaries, following Yellow Notebook (2019) and One Day I’ll Remember This (2020). While the first two volumes spanned eight years apiece, How to End a Story spans only three. Starting in 1995, shortly after shortly after the release of Garner’s The First Stone, it details the dissolution of her marriage to another writer, V. As Lisa Gorton notes, this volume differs from its precursors both in tone and focus: ‘This one is as compelling as a detective story. This one is edited with the sense of an ending.’

‘I would like to write about dominance, revulsion, separation, the horrible struggles between people who love each other,’ wrote Helen Garner, foreshadowing How to End a Story, the final instalment of her published diaries, following Yellow Notebook (2019) and One Day I’ll Remember This (2020). While the first two volumes spanned eight years apiece, How to End a Story spans only three. Starting in 1995, shortly after shortly after the release of Garner’s The First Stone, it details the dissolution of her marriage to another writer, V. As Lisa Gorton notes, this volume differs from its precursors both in tone and focus: ‘This one is as compelling as a detective story. This one is edited with the sense of an ending.’

Melbourne’s Moreland City Council recently agreed to adopt a new name, after petitioning by Wurundjeri Woi-wurrung community leaders and prominent local non-Indigenous representatives. The petitioners argued that the name ‘Moreland’, adopted in 1839 by Scottish settler Farquhar McCrae, derived from a Jamaican slave plantation. Renaming the council was an opportunity to bring about greater awareness of both the global legacies of enslavement and the history of Indigenous dispossession. In this week’s episode, Samuel Watts reflects on the politics of memorialisation and its impact on public conceptions of history.

In today’s episode, listen to the shortlisted poets for the 2022 Peter Porter Poetry Prize – Chris Arnold, Dan Disney, Michael Farrell, Anthony Lawrence, and Debbie Lim – read their poems. This year, our judges Sarah Holland-Batt, Jaya Savige, and Anders Villani had 1,330 poems to assess. In their comments, they write: ‘The five accomplished shortlisted poems each share a narrative bent, a focus on form (four out of five are stanzaic), and a capacity to startle and surprise with vivid imagery, linguistic torque, humour, and juxtaposition.’