Calibre Prize
Hold your nerve
I have not told anyone that there is a small child growing in my bedside table drawer. The Ziplock bag containing E’s hair, a mass of tangled brown. A handful of baby teeth.
Accessibility Tools
D likes my photograph, the one of me in the 1940s shorts and tight T-shirt, the one I posted to the internet just so that he would see. He watches my story – watches as I make my way through Italian museums, drink Campari, buy a straw hat with a grosgrain band. It is peak summer. It is Italy. It is forty degrees. I have to tell you: I hold four tenets to be true. I still believe in trains that run on time, in the solemn power of dandelion wishes, that ripe heirloom tomatoes are the embodiment of the sensual life, and that you shouldn’t use people. Hold fast, and the compass will point true north.
Algeria, June 1835. General Camille Alphonse Trézel’s expedition to pacify the western tribes had failed. Under the leadership of Emir Abdel Kader, Commander of the Faithful, the Algerians had bloodied the French invaders badly. Outnumbered and compelled to withdraw to the port of Arzew to resupply, Trézel’s column fought desperate rearguard actions for three days and nights. On the fourth day, the Algerian cavalrymen outflanked the exhausted French and were waiting in ambush on the edges of the Macta marshes.
PODCAST
The ABR Podcast is released every Thursday and features reviews, poetry, fiction, interviews, and commentary. Subscribe via iTunes, Google, or Spotify, or your favourite podcast app.
Veronica Brady is a highly respected critic with long and distinguished experience in the academic and literary worlds. She understands as well as anyone, I am sure, the mysterious workings of the imagination – how a feeling, an image or an impression may strike a spark capable of igniting a flame that fuses often contradictory thoughts and experiences into the ‘little room’ of a memorable poem. So it must have been a deliberate, though to my mind regrettable, decision that made her concentrate on Judith Wright’s life as a conservationist and campaigner for Aboriginal land rights almost to the exclusion of everything else – poetry included – in this ample and painstaking biography.
When Arnold wrote his famous sonnet, he could have been anticipating John Bell’s book, which repeatedly asks provocative questions about the man and the work that have been his life’s inspiration – and arrives at much the same conclusion as Arnold. We don’t go to Shakespeare for mere knowledge, but for insight, challenge, and enrichment, and perhaps to help us know ourselves and others better. Further, as Bell says: ‘There is no worldwide conspiracy to keep Shakespeare alive. He survives because actors want to go on performing him and audiences want to listen.’ These sentences come from his second-last page, and the rest of the book helps us to understand why.