The New York City Opera could not have known when they programmed a revival of John Philip Souza’s The Glass Blower just how appropriate it would be post-September 11.... (read more)
Advertisements asked ‘Which twin has the Toni?’
Our mothers were supposed to be non-plussed.
Dense paragraphs of technical baloney
Explained the close resemblance of the phoney
To the Expensive Perm. It worked on trust.
It’s the silence. Even by the river, my ears are straining. It’s the silence. At this moment it’s a warmish humid silence with the grass outside lushly mesmerising the eye.... (read more)
Bernard Smith gave us Australian art. Before him, the subject was not part of our cultural discourse. We knew and could place the work of Michelangelo and Monet but not that of Eugene von Guérard, Tom Roberts or Grace Cossington Smith.... (read more)
In his opening sentence, Andrew Ford explains that, ‘The seventy-something pieces in this volume were written over fifteen years for a range of publications and occasions’. Indeed, in the sixty-eight titles that constitute Undue Noise, forty-four of which began life in the ABC organ 24 Hours, Ford confronts us as critical theorist, copious reviewer of music, text and film, diarist, sleeve note writer, radio commentator and university lecturer.... (read more)
It’s a Proustian title, or at any rate a Powellian one, that Bernard Smith has produced for this memoir of his life in the long-ago 1940s, and, yes, there on the cover is Anthony Powell’s hero, Poussin. That’s doubly appropriate because one of the more vivid figures (though also one of the more saturnine ones) in this remembrance of things past is Anthony Blunt, great scholar of Poussin’s work, master spy, eminent director of the Courtauld and critical educator of the Young Bernard.... (read more)
For there is always going on within us a process of formulation and interpretation whose subject matter is our own selves.
These words appear towards the end of Erich Auerbach’s study of representation in Western literature, Mimesis. First published in 1946, the book has become a classic of twentieth-century literary criticism, but is almost as famous for the circumstances under which it was composed as for its content. It was written between 1942 and 1945 in Istanbul, where Auerbach, a German Jew, was living in exile.... (read more)
Critics often comment on the ‘shape’ a poem makes – not the concrete form of the words on the page, but the poem’s conceptual trajectory, the statement, development and resolution (or lack thereof) of its central theme. What is most striking about Robert Adamson’s first collection of poems published in North America, The Goldfinches of Baghdad, however, is the shape the collection makes as a whole ...... (read more)
An earlier version of this history of Victoria first appeared in 1984 as Our Side of the Country. Though for the past sixteen years Sydney-born politicians Paul Keating and John Howard have usurped Victoria’s former almost constant ‘top position’ in Canberra, the possessive pride reflected in that early title still runs through this modern version ...... (read more)
Nuns supply the world with a wonderful source of all-singing, all-dancing, laughing or weeping material, from The Abbess of Crewe to A Nun’s Story, from The Sound of Music to Nunsense. Where would novelists and filmmakers be without the sisterhood? Catholic girls have strong feelings about nuns ...... (read more)