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Billy Thorpe’s story is the perennial one of an Australian artist dissatisfied with domestic success. In this account of the late pop star’s career, Jason Walker bypasses discussion of Thorpe’s music per se to present him as ‘truly Australian … a battler, a doer [and] a self-promoter’ who lusted for international recognition. While it vividly recounts Thorpe’s life (1946–2007), including enough sex, drugs and equipment fetishism to delight boyish music fans, the real strength of Billy Thorpe’s Time on Earth is its profile of Thorpe’s careerist, provincial psyche and the lengths he went to in search of adoration.

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A number of questions sprang to mind when I heard that Thomas Keneally was writing a three-volume history of Australia from its origins to the present. The first was to wonder how he would fit it into his crowded schedule. Clearly, though, this is not a problem. Keneally has just published another novel. More intriguing was the question as to what Keneally could add to the subject. After all, Australia is not lacking in colonial histories, many written by historians who are skilled writers. As Keneally is primarily a novelist, albeit one with a serious interest in our history and with several non-fiction studies under his belt, would the work reflect the conventions of historical fiction?

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Stolen by Lucy Christopher & Mama's Song by Ben Beaton

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December 2009–January 2010, no. 317

A certain sub-genre of Young Adult fiction thrives on the psychology of duress – on the useful friction yielded by placing a young heroine in a near-impossible situation and asking the reader: ‘What would you do? How would you cope?’ Two recently released, formidable début novels have utilised this formula, with some impressive results.

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Calvin by Bruce Gordon & Political Grace by Roland Boer

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December 2009–January 2010, no. 317

John Calvin has not had a good press among the general or even the educated public. Marilynne Robinson caricatures the popular view: ‘an eighteenth-century Scotsman, a prude and obscurantist with a buckle on his hat, possibly a burner of witches, certainly the very spirit of capitalism.’ Even Les Murray, who of course knows a lot of ‘religious stuff’, in a recent poem (‘Visiting Geneva’), addresses ‘John Calvin, unforgiver / in your Taliban hat’. The reasons are, no doubt, complex. Calvin has mistakenly been given sole responsibility for the fate of Michael Servetus. His relationship with Geneva has been misunderstood. Predestination has been seen as the centrepiece of his theological system, when it is questionable whether one can speak of a ‘system’ at all.

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If the past is a foreign country, Hollywood is another planet: they sure do things differently there. Just how differently is the predictable and tedious obsession of far too much adaptation scholarship, fixated on the degree of fidelity of a film to its adapted literary Urtext. This practice, boring and unimaginative, diverts the attention from what art can tell us about ourselves to what it can tell us about the colour of the breeches worn in the novel by that odd fellow in the twelfth chapter. Thomas Leitch, for one, is sick of it, and he has set out to shake up film scholarship and inject new life into the study of adaptation in this wide-ranging and acutely observed treatment.

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In the closing years of the twentieth century, historians combined to produce large reference volumes of national history. Some were stimulated by anniversaries, notably the dictionary, atlas, gazetteer and chronology, guide to sources and compilation of statistics that were published by Fairfax, Syme and Weldon for the Bicentenary. Some were initiated by publishers, such as the Companion to Australian History (1998) that Graeme Davison, John Hirst, and I edited for Oxford University Press.

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Over the past three decades, Edmund Capon has transformed the Art Gallery of New South Wales. Before he arrived, you could have swapped the contents of the Sydney gallery with Ballarat’s and nobody would have noticed the difference. How a city of that size, wealth and international ambition could have wound up with such a provincial collection puzzled the mind. No more. Capon has thrown out new wings, created a distinguished Asian collection virtually ex nihilo, attracted the generous benefaction of some remarkable old master paintings from James Fairfax, and acquired major twentieth-century and contemporary works. As importantly, he has made the AGNSW the liveliest of the state galleries. Even a wet Tuesday morning sees the central court thronged. Often Capon installs a medley of works there which would look inchoate in most other galleries but which emerge as resounding and triumphant. I once saw the big Kirchner Three bathers hung with the august Max Beckmann’s Mother and daughter and Picasso’s crackling Seated nude from the mid 1950s. Collectively, they gave off the whack and weight of modernity more excitingly than any other display in Australia.

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Why do you write?

For the language, for the ideas, for the pleasures of the imagination, for the unorthodox hours, for the solitude.

Are you a vivid dreamer?

To dream you need to sleep, and sleep, like sport, is not a skill I have ...

My memory of John Hopkins – in fact, the memories of most of my generation of Australian music-lovers – goes back to the Proms he conducted in Sydney and then Melbourne from the mid 1960s to the early 1970s. Hopkins was, to young audiences of the day, an anti-establishment musician who dared to strip the furniture from the stalls and, in the process, also strip away what he calls the ‘dynamic conservatism’ of the then Australian Broadcasting Commission. ‘Hoppy’, as he was known, was a hero – the Sir Henry Wood of the Great Southern Land. He was, after all, English, with a broad Yorkshire accent.

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My office! My office at the Judy! The Judy
at the head of Fortitude Valley – Happy Valley! –
the ex-tea and -coffee warehouse, but reformed, reformed!
The industrial brick carcass full of arty bees,
sphinx of a building couchant on the crest of the hill,
the infra-red elevator mysteriously redolent of cloves,
restaurant smuggled into one corner, café in another,
and the whole dipped in chocolate and tile.

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