The kind of writing that is to be found in Ania Walwicz’s collection Boat is the kind that angers many people. Eschewing punctuation as benevolent and therefore inferior signposts to meaning, Walwicz’s prose is uncompromisingly difficult. Plot is virtually absent. Syntax defies convention. The ugly, both visually and verbally, is preferred to the beautiful.
Jackie French, according to the press release for her new adult novel To Love a Sunburnt Country, has written over 140 books in a twenty-five-year career. Many are for children and teenagers. I have only read one other, A Waltz for Matilda (2012), the first in ‘the Matilda Saga’ for teens; but these two books share at least one character and several characteristics.
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.
In his 155-page essay on Australian poetry in The Oxford History of Australian Literature, Vivian Smith modestly makes only one passing reference to his own work, noting that he, with a number of other modern poets, had been influenced by university education.
These twenty-one stories have a pedigree; according to the customary list of acknowledgments, they have had a previous life littered across no fewer than twenty-six books, magazines, and journals, some of whose names are unfamiliar even to my local newsagent. I’m not sure these days if places of publication should properly be called ‘sites’, ‘topoi’, or ‘venues’. Such is the prevalence of dope in this book, however, that perhaps they could be called ‘joints’. But This Is For You is certainly greater than the sum of its parts.
In 1956, A Book of Australian Verse, edited by Judith Wright, was published by Oxford University Press. Her choice of her own poems included ‘Bullocky’ and a couple of others, the over-anthologising of which, at the expense of her other work, was later understandably to provoke her exasperation.
With unsentimental compassion and irony, Dispossessed tackles the weighty topic of the rural crisis. In a sense the title of Phillip Hodgins’s verse novella gives too much away, casting a deliberate shadow over all that follows. Yet the manner in which Hodgins spins his yam is constantly engaging.
This is the finale to ‘The Death of Daffy Duck’, one of the stories in Peter Goldsworthy’s latest collection. ‘The Death of Daffy Duck’ outlines the end of a friendship between two bon vivant couples whose years of dining out together had come to an end in a restaurant, during dinner, when one of the men almost choked to death on a piece of food (the ‘Scene’ referred to), and the other saved his life. From that time on, the saved man will not speak to his rescuing friend.
A few years ago, there was a great song on the radio, a song about remembering riding with an assortment of brothers and sisters in the back seat of the car. I don’t even recall the name of the song, much less the name of the band, but there was a line in the chorus that used to wipe me out: ‘And we all have our daddy’s eyes.’