The View from Europe

Desmond O'Grady
Thursday, 22 October 2020

A grizzled, greying migrant, who was holidaying in Sicily after twenty years in Australia, attended a civic reception for participants in a seminar on Australian literature held in Piazza Armerina last January. His wife and three children were in Moonee Ponds. He was obviously pleased to speak with the Australians present as if they somehow confirmed his experience in a far-off land.

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David McCooey
Thursday, 22 October 2020

God, the lonely father,
shuffles through the
corridors of heaven,
haunted by angels –
memories of desire,
the source of nostalgia.

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My Compliment Is Not A Tulip

Luke Beesley
Thursday, 22 October 2020

- What type of truck?
- A fire truck.

The taper of a cup
sitting pretty in a circle –

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Advances: Literary News - June 2009

Australian Book Review
Thursday, 22 October 2020

Ideal climate for writing

Climate change poses undoubted challenges for science – and society – but what exactly does the phenomenon mean for Australian cultural life? The University of Melbourne’s inaugural Festival of Ideas, June 15–20, investigates the question, with a program featuring scientists, environmentalists, archi ...

Coming out from behind

Tom Thompson
Thursday, 22 October 2020

Publishers are like invisible ink. Their imprint is in the mysterious appearance of books on shelves. This explains their obsession with crime novels.

To some authors they appear as good fairies, to others the Brothers Grimm. Publishers can be blamed for pages that fall out (Look ma, a self-exploding paperback!), for a book’s non-appearance at a country town called Ulmere. For appearing too early or too late for review. For a book being reviewed badly, and thus its non-appearance – in shops, newspapers and prized shortlistings.

As an author, it’s good therapy to blame someone and there’s nothing more cleansing than to blame a publisher. I know, because I’ve done it myself. A literary absolution feels good the whole day through.

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John Hanrahan
Thursday, 22 October 2020

Now we are in the season of missed and mellow fruitfulness. The mellow fruitfulness belongs to the winners of literary awards and literary grants. The missed are those who are eternally short listed but never ascend the throne. Of course, some books shortlisted never have a chance of winning. They are put there for encouragement, minor recognition, sometimes tokenism.

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If we are not what we eat, and we are not, nor what we read, as we are also not, nevertheless a plate of latkes and a page of Saroyan do something to limn the portrait, as the crashing waves delineate the shoreline rock.


Skip that.

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This is a strange assortment of pieces. To someone who doesn’t move in any gay community, the anthology’s chief problem is its fissiparousness. There has to be a distinction between gay writing and writing by authors who are gay. The majority of contributors to Graeme Aitken’s book take gay life to be their subject, but several are included because they are gay, while not necessarily employing gay themes, or doing so indirectly.

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Book to Film

Peter Yeldham
Thursday, 22 October 2020

When the ABC asked me to adapt Roger McDonald’s novel 1915 into a major seven-part serial, I declined. Ray Alchin, producer and head of the ABC’s film studio in Sydney, looked at me with disbelief and asked me to read it again. So I read it again, twice, and thanked him for having the good sense to see its possibilities, and gratefully accepted.

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'Arabesques and Banknotes'

Laurie Clancy
Thursday, 22 October 2020

With the reissue of The Beauties and Furies (1936) this month by the British feminist press Virago, virtually all of Christina Stead’s work is in print for the first time in the half century long career of this distinguished writer.

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