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August 2021, no. 434

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Book of the Week

Australian History

Farmers or Hunter-gatherers?: The Dark Emu debate by Peter Sutton and Keryn Walshe

For anyone who has spent substantial time recording Aboriginal cultural traditions in remote areas of Australia with its most senior living knowledge holders, bestselling writer Bruce Pascoe’s view that Aboriginal people were agriculturalists has never rung true. Farmers or Hunter-gatherers? The Dark Emu Debate – co-authored by veteran Australian anthropologist Peter Sutton and archaeologist Keryn Walshe – has already been welcomed by Aboriginal academics Hannah McGlade and Victoria Grieve-Williams, who reject Dark Emu’s hypothesis that their ancestors were farmers (like Pascoe himself).

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From the Archive

August 2005, no. 273

Émile Zola

Unlike Flaubert, the ‘hermit of Croisset’, who turned away from his age in an attitude of ironic detachment, Émile Zola (1840–1902) embraced his century in a way no French writer had done since Balzac. Zola’s ambition was to emulate Balzac by writing a comprehensive history of contemporary society. Through the fortunes of his Rougon-Macquart family, he examined methodically the social, sexual, and moral landscape of the late nineteenth century along with its political, financial, and artistic contexts. Zola is the quintessential novelist of modernity, understood in terms of an overwhelming sense of tumultuous change.

From the Archive

April 1986, no. 79

The Night We Ate the Sparrow: A memoir and fourteen stories by Morris Lurie

Welcome again to Morris Lurie’s global village: Melbourne, Paris, New York, London, Tangier, Tel Aviv, Melbourne again, London. Lurie is one of our most reliable entertainers, but he is also, in the recesses of his stories, a chronicler of inner loneliness. The round world for him is signposted with stories; as one of his characters says, ‘everything is a story, or a prelude to a story, or the aftermath of one.’ The sheer variety of narrative incidents and locales in this collection is, as usual with him, impressive in itself. His characters play hard with experience in those bright or familiar places, a Tangier of easy living and surprising acquaintances, a London of the sixties fierce with contrasts. Yet finally they are always partly detached from it all and able to set themselves free, curiously able to resume the role of spectator of life. Many of Lurie’s characters give the initially disconcerting impression of possessing that ultimate detachment of a certain kind of writer, even when, as is usually the case, they are not actually cast as a writer or artist.

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