Calibre Prize Essay

The history of my onomastic apprehension and misapprehension about the big thing in the middle of Australia: It is called Ayers Rock. No, it is ...

In 2013 we published Martin Thomas's Calibre Prize-winning essay ‘“Because it’s your country”: Bringing Back the Bones to West Arnhem Land'. This powerful story of the repatriation of Aboriginal bones soon became the best read article on our website and we are delighted to be able to launch the ABR podcast with it.

Percy Grainger walked to avoid self-flagellation. David Sedaris walked to placate his Fitbit. Virginia Woolf walked the streets of London, and later the South Downs, endlessly: because she loved it, because she was walking her dogs, because she needed to think clearly. For Henry Thoreau, every walk was a sort of ‘crusade’ ...

On an early spring evening in 1919, in a nearly empty cinema in the English seaside town of Lyme Regis, a slight, dark-haired figure slipped into a seat at the farthest edge of a row. From here, she would have a clear view of the profile of the youthful pianist who, sheltered behind a screen, accompanied the silent film. In white tie and tails, with her fair hair slicked down, the young musician could easily have passed for a boy. But Henry knew better. She had already extracted from the cinema’s owner the useful information that the pianist who gave such superlative performances night after night in the dark, sparsely filled hall was his daughter, Olga. The delicious ambiguity of the young woman’s appearance only added to the pleasure of her effortless improvisations. The soft, feminine form in its stiff, masculine garb was as enticing as the verve and finesse of the music itself.

Christine Piper is the winner of the 2014 Calibre Prize for an Outstanding Essay, worth $5,000. In this powerful essay, she writes about Japanese biological weapons and wartime experiments on living human beings.

Thirty years ago, I walked out of the railway station at Le Puy in the Auvergne region of the Massif Central of France, put most of my belongings in a locker at the station along with a note in schoolboy French explaining that I hoped to be back, and then walked over the horizon at sunset. I was embarked on my discovery of the Velay and the Gévaudan.

Wandering through the Mawson collection at the South Australian Museum one winter afternoon, I stare through the glass at the reconstruction of my great-grandfather, Douglas Mawson’s room in the hut, the sound of a moaning blizzard in my ears. The eerie sound of the wind coming through the installation, so familiar to Mawson and his men, is strangely alluring. There is something calming, almost hypnotic in its rhythm and repetition, as if I am literally being drawn into their world and their time. Yet I am also aware of its destructive force. John King Davis, who was captain of the Aurora on Mawson’s Australasian Antarctic Expedition (AAE), 1911–14, likened it to ‘the shriek of a thousand angry witches’, its constancy keeping them ‘for a seeming eternity the pitiful, worn out impotent prisoners of hope’. Some entries in Mawson’s diary comprise only one written word, ‘blizzard’, followed by successive days of ‘ditto’.

A human body exposed to summer heat can be reduced to bones in nine days. First the flies and maggots feast on the body’s fluids. As the tissues decay, they feed on the whole body through orifices and wounds. Next the insects and predators gorge on the juicy maggots. Once the body has begun to decompose, in come the beetles that tuck in to the tougher flesh, skin, and ligaments. In Australia the intestines of herbivores are a delicacy for the dung beetle. Then moths and mites feed on fly eggs and hair. Meantime, the bacteria are busy, helping the body to decompose and recycling the nutrients. Is that, I wonder, what happened to our Brahman bull Angel?