Viking

The vision was of a brown-skinned child standing by her side. She sensed it so keenly that she could even feel the child’s warmth. It was so striking she wondered about her sanity … but as time went by, she became more comfortable with her vision, accepted it as something precious, a visitation of some sort that only she knew about.’

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To his obvious surprise, John Wood became a household name playing ordinary, reliable Aussie blokes – most memorably Sergeant Tom Croydon on Blue Heelers and magistrate Michael Rafferty on Rafferty’s Rules – two of television’s best-loved everyday heroes. (I confess to writing about the latter in The Bulletin and describing him as ‘the thinking woman’s crumpet’.)

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Miles Franklin used to delight in relating an anecdote about a librarian friend who, when asked why a less competent colleague was paid more, replied succinctly: ‘He has the genital organs of the male; they’re not used in library work, but men are paid more for having them.’

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Michael Shmith reviews 'Trio' by William Boyd

Michael Shmith
Thursday, 24 September 2020

The first three chapters of William Boyd’s beguiling new novel, Trio, are devoted to the waking habits of three people: a novelist called Elfrida Wing, stirred from slumber by the brightening morning sun; a film producer called Talbot Kydd, jolted into a new day by an erotic dream taking place on a beach; and an American actress called Anny Viklund, who, it seems, hasn’t had the time to consider sunrays or reverie. Anny, the only one of the trio not to wake up alone, has spent a vigorous night with a younger man called Troy Blaze.

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There seems to be an ever-growing – I almost wrote market, but think I mean obsession – these days for the family history, the personal memoir, the parading of how I spent my childhood/adolescence/ protest years/personal and economic growth decades, before-finally-contributing-to-the-joy-of-past-and-future-generations-by-listing-my-achievements. Many of these are self-published. Kristin Williamson’s biography of her playwright husband is not, but perhaps should have been.

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When Malcom Fraser was prime minister, he was generally thought of as a hard and ruthless man of the right. In part this was because of the role he played in the removal of Gough Whitlam; in part because of his fiscal prudence; in part because of his orthodox Cold War foreign policy. Following his defeat in 1983, an alternative picture of Fraser gradually emerged. Under Labor, Australia embarked upon a program of economic rationalist reform. For his failure to anticipate this programme – to be wise or, as some would say, unwise before the event – Fraser was caricatured, especially by his former political friends, as a do-nothing prime minister. His time in office was ridiculed as Seven Wasted Years. After 1996 Fraser became one of the most influential critics of John Howard’s new brand of populist conservatism. The portrait of him was once more redrawn. The left saw him as a principled humanitarian; the right as an incorrigible Wet.

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Bob Ellis is the quintessential Labour groupie, and Goodbye Babylon the latest instalment in the saga of his love affair with the ALP, which began with The Things We Did Last Summer, a slim and evocative volume, published twenty years ago. By contrast, Goodbye Babylon is a fat book; rather like Ellis himself, it is sprawling, dishevelled, undisciplined but likeable, witty, and gregarious. His prose, though prone to excess, can be rich and compelling.

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There seem to be fewer post-election books doing the rounds after the 2019 federal campaign than has been the case in recent decades. Why is this? The 2019 campaign may have been achingly bland, but the result shocked pollsters, voters, and a news media that had long predicted a Labor win. Morrison’s ‘miracle’ victory is probably Australia’s most historically significant one since the last ‘unlosable’ election, back in 1993, when another cocksure opposition took its own ‘big target’ tax package to the people.

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Hazel Rowley reviews 'Fishing in the Styx' by Ruth Park

Hazel Rowley
Tuesday, 24 March 2020

I discovered Ruth Park’s Companion Guide to Sydney in a Sydney second-hand bookshop in 1980. Published in 1973, it was already out of print, probably because it evokes a Sydney that no longer existed. In the early 1970s, Park writes, ‘Sydney was beginning to pull itself to pieces, the air was full of fearful noise, the sky of dust … And the terrible sound of the rock pick tirelessly pecking away at Sydney’s sandstone foundations was over all.’

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Writing trans and gender-diverse lives

Yves Rees
Monday, 24 February 2020

Six years after the ‘transgender tipping point’ proclaimed by Time magazine in 2014, the trans and gender-diverse (TGD) community continues to surge into the spotlight. From Netflix and Neighbours to the Merriam-Webster Dictionary (which named ‘they’ its 2019 word of the year), transgender experience is enjoying well-deserved recognition and representation. Visibility, however, is not without its problems. Internationally, growing awareness has triggered an anti-trans backlash, with the TGD community becoming a conservative scapegoat du jour. The United States is experiencing a spate of anti-trans violence, while ‘bathroom bills’ proliferate in red states. In Australia, the 2016 moral panic over Safe Schools was followed in 2019 by The Australian’s anti-trans campaign (with sixty-eight articles, ninety-two per cent of them negative, published in six months), as well as the transphobic fearmongering of TERFs (trans-exclusionary radical feminists) over Victoria’s birth certificate reforms – not to mention Prime Minister Scott Morrison’s attacks on ‘gender whisperers’.

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