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So much shown in a little space
All humbleness, all dignity,
Hand-work – the Knitted Nativity!
Seeing, one whistles on an arc of breath
Wonderful, oh wonderful!

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Histories of classical music of whatever epoch – medieval, baroque, twentieth-century – tend to be written by university professors writing for a university readership. That being the case, they are issued by academic textbook publishers and are unlikely to pop up in your local bookstore. Chances are they won’t appear on best-seller and ‘pick of the critics’ lists.

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I witnessed Australia’s inglorious exit from the World Cup in a packed Balmain Rugby Leagues club. Many in the crowd were sporting green and gold, and when it came time for the pre-match national anthem, the crowd rose almost as one to join in a well-oiled and full-throated rendition of Advance Australia Fair. I was glad that my ...

Brenda Niall (ABR, March 2008) feels ‘confronted’ by an ‘extraordinary claim’ in my book, Arthur Boyd: A Life. The two sentences that caused her consternation are: ‘Yet it seems that ultimately Martin’s spirit was crushed. His broken body would be discovered in the Blue Nuns’ gardens, lying where it had fallen, below his hospital window.’ Niall complains that I did not ask her opinion about Martin Boyd’s likely suicide. Since this was not included in her biography, Martin Boyd: A Life ( 1988), I believed she knew nothing about it. I understand how annoying it must be to write a full biography of a person and learn later of information that may have been available, but Niall’s defensive and plaintive attack demands a response.

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The Good Parents, Joan London’s second novel, begins with the seduction and disappearance of Maya de Jong, an eighteen-year-old who has recently moved to Melbourne from a small Western Australian town. Maya’s worried parents, Jacob and Toni, travel to Melbourne, set themselves up in her Richmond share house, and begin to search for clues to explain her absence.

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Wet Ink, No. 10 edited by Phillip Edmonds and Dominique Wilson

by
July–August 2008, no. 303

‘Science fiction and fantasy’ is the cover theme of Wet Ink. Not all the contributions adhere to it. Michael Welding’s essay on utopias and dystopias is a good introduction to the theory surrounding literary projections of both idyllic and apocalyptic futures. He notes that, before white settlement, the antipodes was often the subject of fantasy, referring to Robert Paltock’s The Life and Adventures of Peter Wilkins (1751), in which a mariner shipwrecked somewhere in the Australian and Antarctic region discovers that the inhabitants can fly. He also jokes that flying was regularly depicted in speculative fiction but that the banning of humour (at airports) is just another case of political realities outstripping the literary imagination.

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Twenty years after the publication of their ‘inclusive Australian literary history’, The New Diversity: Australian Fiction 1970–1988, Ken Gelder and Paul Salzman have returned with a ‘sequel’, After the Celebration: Australian Fiction 1989–2007. One leaden title succeeds another, although the tone of the second book is angrier. More of that later. As the authors note in their preface, The New Diversity was published by McPhee Gribble, an independent outfit that would largely be subsumed by Penguin in 1989, the year in which that book appeared. This observation prepares for the consistently impressive aspect of After the Celebration: its detailed, incisive, intelligently informed account of the changes in the circumstances of publishing, and especially fiction publishing, in Australia during the last two decades. One might take counsels of hope or despair from their analysis (particularly if one were a novelist), but still be grateful for it.

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Judith Clarke’s new novel for young adults, The Winds of Heaven, is a moving story about the strength and difficulty of friendship, and how accidents of birth, family and situation can combine to overwhelm the brightest spirit.

On her first trip to Lake Conapaira in 1952, ten-year-old Clementine meets her cousin Fan for the first time. Fan is a whirlwind: beautiful, impulsive and imaginative. Clementine is entranced by Fan’s strength and liveliness, and the two girls quickly become friends. But Fan’s childhood is a world away from Clementine’s cautious but loving family home. Stranded with her violent mother amid the prejudices of a country town, the beautiful Fan is labelled ‘stupid’ at school, and regularly beaten and emotionally abused by her depressive mother. Her sister has left home, and her father disappeared long ago. Fan fights for happiness, and fights hard. She has her miyan, or spiritual guardian, an elderly Aborigine who lives in the bush and tells her stories. He calls her Yirigaa, ‘Morning Star’, and is the only positive adult influence in her life. Clementine wants to stay with Fan, but the holiday draws to an end and she must return home, leaving Fan with her mother in the house that smelled of ‘anger and hatred and disappointment and jagged little fears’.

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In early 2001, several Roman Catholic nuns stood trial in Brussels for crimes against humanity for their part in the genocide in Rwanda. Rwandan nationals, they were charged with violating new provisions of Belgian national law, which make participation in genocide and crimes against humanity anywhere in the world a violation of the law of that country. Unlike the case of Slobodan Milosevic, who awaits trial before an international tribunal in the Hague, or recent well-publicised proceedings in England against Augusto Pinochet, which were based on an extradition request from a Spanish judge investigating the former dictator for crimes against Spanish citizens in Chile, the Belgian law grants jurisdiction against anyone, who commits certain types of crimes against anyone regardless of citizenship, anywhere. In other words, the Belgian system has nationalised international crimes and international criminal law jurisdiction.

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The judges for this prestigious award are Bernard Smith, Mary Lord, Graham Rowlands and Rick Hosking. Some proven stayers, good mud gallopers, smart on top of the ground, they are judges amply qualified to assess a varied field.

We offer a form guide provided by well-known Sydney racing identity, Don Scott.

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