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‘Dick Downing had a keen sense of what would make Australia a better country – for a strongly welfare minded economist – the knack of being in the right place at the right time.’ Thus Nicholas Brown, in his subtle and intelligent account of one of the shapers of Australia in the twentieth century.

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This handsome set of volumes – this ‘library’, it might almost be said – is one of the finest large publishing projects undertaken in Australia over recent years. Dedicated to ‘those who have served in the defence of Australia, 1901–2001’, it is brought triumphantly to a conclusion by the recent issue of its Volume VII, An Atlas of Australia’s Wars. This climactic volume, lying open on your desk, spreads eighty centimetres wide and is a splendidly presented treasury of geographical and logistical information. Now we can make better sense of, for example, the plethora of existing individual unit histories. Many of these (despite their wealth of fine detail and personal information) have baffled our broader understanding. Now we have, set out before us, the land (or the sea, or the airspace) where the fighting took place, and can appreciate reality in a new dimension.

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Flight Animals by Bronwyn Lea & Sensual Horizon by Martin Langford

by
December 2001–January 2002, no. 237

Seamless with his two previous collections, Behind the Moon is Jacob Rosenberg’s potted autobiography of a survivor of Lodz and Auschwitz, delivered from that hell, of which he writes with the kindness of an angel, into the heaven that Melbourne must then logically be. To be the poet of reality and not self-delusion is his reality, is his commission. The trouble he contends with is that his present is posthumous, for the contemporary world could never be charged with such reality. Heaven doesn’t exist.

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What do we do with literary magazines? How do we read these more or less accidental collections of literary fragments? How can we say that they matter? It would be nice if we could hold on to the heroic model of the modernist little magazine always ‘making it new’, forging a space for the advance guard, with what Nettie Palmer once called a ‘formidable absence of any business aims’. But, in the age of state subsidy and university support, and with large publishing houses intervening in the magazine market place, this would be sheer nostalgia – though in a form that might still motivate new magazine projects.

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The play of mirror images in this new work of Thea Astley is quite dazzling. She goes from strength to strength in her command of the crafts of narrative. The book is an enquiry into escape, not just any escape, but escape in an almost metaphysical dimension, in which losing oneself is the only way to find oneself. The novel appears to divide into two novellas, linked by the appearance of the villain, and I use the term advisedly, in both. However the two stories are so closely linked in theme, in motifs and in structure, that they are more like twin pictures that form a diptych.

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In this first volume of autobiography, Ruth Park covers her New Zealand years – childhood, adolescence and early challenges of adult life. Episodic and frequently leapfrogging in its chronology, the book is firmly held together by a number of recurring and interweaving themes: the urge to write and the difficulty of acquiring an appropriate education; family relationships, at once close and hedged about with barriers; poverty and the Great Depression; and finally the problem of being ‘different’ combined with the joy of discovering kindred spirits.

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‘How many times?’ the voice on the other side shouted. ‘How many fucken times? Will youse ever listen?’ The brick wall between the two change-rooms might have been cardboard.

On this side – the visiting team’s side – the boys sucked on their orange quarters, all ears. Dom Russo, the team manager, screwed up hi ...