NonFiction

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.

We all like to think of ourselves as civilised. Civilisation is like ethics: a concept and an underlying value system that seems impossible to oppose. Who, after all, could possibly be against civilisation? Who would want to take issue with the institutional stability, the democratic order and the standards of fairness, decency and culture we have come to see as hallmarks of a civilised life? Brett Bowden does. He does so in an ambitious and fascinating book that offers what could be called a genealogy of civilisation: an inquiry into the history, meaning and political impact of a concept.

At first sight, a genealogy of civilisation seems a rather dry and academic exercise. Bowden, a political scientist at the Australian Defence Force Academy, University of New South Wales, examines the political and cultural contexts in which the idea and the ideal of civilisation emerged. He locates the linguistic roots of civilisation in fourteenth-century French, but then focuses primarily on how the concept took on an increasingly important meaning in the French, English and German vocabulary during the eighteenth and nineteenth centuries. Although Bowden draws only on English-language sources, he still offers a sophisticated and remarkably wide-ranging discussion of how the concept of civilisation became central to philosophy, legal discourse, scientific progress, socio-political institutions and colonial ambitions.

B.A. Santamaria is given to self-dramatization. His autobiography (1981) was subtitled Against the tide but he was not metaphorically explicit as to whether the tide was going out or coming in. For myself I do not want to think of Santamaria behaving with Canute-like megalomania; I prefer to envisage him backstroking towards shore with a rear-vision snorkel, spouting against the undertow of inevitable social change, and praying for some apocalyptic dumper to preserve him from the future agoraphobic shock of an ever-widening ocean.

Telling one’s own story comes naturally: we are all in some sense autobiographers. There is nothing new in the urge to seek a pattern in a life while living it, to advertise an ego, to explain, confess, justify, understand – or simply to say ‘I was there’. What is new is the comparative ease with which the urge can be accommodated and the ‘self-life’ made into text.

The current interest in the narratives of ‘ordinary people’ is attested by the extraordinary success of Albert Facey’s A Fortunate Life. It may also be seen in some recent and important scholarly enterprises such as the nineteenth century Australian women’s diaries published by Lucy Frost in No Place for a Nervous Lady or the oral histories from which Janet McCalman constructed inner urban Richmond in the depression years as Struggletown.

In the twentieth century, the Jewish experience has been dominated by two extraordinary (and related) events: the Nazi holocaust and the establishment of a Jewish state in Israel. It is natural that they should be reflected in Jewish historiography, and especially in the large number of books, articles, and theses concerned with the impact of the Holocaust on Jewish communities around the world. In Europe, especially, where almost every national Jewish community was destroyed, historians (many of them survivors of the events they describe) have been struggling to come to terms with the way these things happened.

Simon Adams’s thesis is that capital punishment was crucial in how the West was won: ‘The gallows were a potent symbol of an unforgiving social order that was determined to stamp its moral authority over one-third of the Australian continent.’ But hanging was discriminatory; it ‘was never applied fairly or impartially in Western Australia’. Adams points to the fact that ‘there were 17 men hanged between 1889 and 1904, all of whom were “foreigners”: two Afghans, six Chinese, one Malay, two Indians, one Greek, one Frenchman and four Manilamen’, but not a single ‘Britisher’. Capital punishment was racist, reflecting the ‘distortions and prejudices of the British colonial legal system’.

My Swedish neighbour is rebuilding. From my back garden I overheard her Australian builder loudly introducing her to a tradesman named Hans. ‘Now, we’re for it,’ he chortled. ‘It’ll be talk, talk, talk, no stopping you now.’ As I hung out the washing, I reflected that the Australian nervousness around ‘Continentals’ that Madeleine St John details so deliciously in her novel about 1950s Sydney, The Women in Black (1993), still resonates in the twenty-first century. 

At the moment, there are about 5,000 world languages, and ninety per cent of these languages are spoken by about five per cent of the world’s population. A pessimistic forecast would predict that by 2,100 only 500 of these languages will still exist; an optimistic forecast might put the figure at 2,500, about the same rate as the extinction of mammals. Many of the languages under threat are spoken in countries that are close to Australia: Papua New Guinea has 850, Indonesia 670, and India 380. (Australia is listed as still having 200, but many Australian linguists would put this figure much lower.) It is a relatively easy matter to rally the troops, the money and the organisational forces to attempt to save furry mammals; it is a much more difficult matter to rally support to save languages. This book, by the eminent French linguist Claude Hagège, assesses how and why languages die, what the cost of their deaths is, and whether anything can be done to prevent their annihilation.

Each year, the board of the Australian Broadcasting Commission invites a prominent Australian to present the Boyer Lectures. The chosen expert offers his or her (mostly his) ‘ideas on major social, scientific or cultural issues’ to a radio audience and, a little later, to readers.

            Unsurprisingly, a review of the Boyers’ fifty-year history reveals undulations in quality and significance. While the concept has produced plenty of thought-provoking and prescient moments, often the interest is of a transient or an introductory nature. Certainly, few lecturers have matched the resonant and seminal contribution of W.E.H. Stanner’s After the Dreaming (1968), one of the finest pieces of writing produced about indigenous relations in Australia. Sometimes the choice of lecturer has been perplexing. In 2008, Rupert Murdoch’s A Golden Age of Freedom mixed rapacious optimism about technology, globalisation, and the future of the news media with a tetchy plea for Australia to shrug off its complacency. It would be hard to think of a person who needs the resources of a public broadcaster to disseminate his vision of the world less than Murdoch does.

Ever since Plato famously proposed to banish poets and their ‘embellished tales’ from his ideal Republic, the relationship between art and politics has been strained. On the negative end of the spectrum hovers the warning example of a failed Austrian landscape painter who proceeded to push the world into total war. What makes things even worse is that the remarkable appeal of Hitler’s ghastly vision in 1930s Germany owed much to the efforts of sympathetic artists such as Leni Riefenstahl or Gottfried Benn. But even more inspiring figures on the positive end of the spectrum – Václav Havel and Melina Mercouri come to mind here – usually fall from popular grace once they accept political office.