NonFiction

Philip mead’s Networked Language: Culture & History in Australian Poetry is an extraordinary piece of scholarly writing: large, ambitious, meticulously researched, brilliantly written and quite original. It is laudable not only for these inherent virtues but also, it has to be said, because of its very existence. Australian Scholarly Publishing is to be commended for publishing such a work. If poetry is marginal to Australian public culture (as we are routinely told), then works about Australian poetry are all but invisible. It is all the more notable, then, that Mead’s work should join another recently published, large-scale work on modern Australian poetry: Ann Vickery’s Stressing the Modern: Cultural Politics in Australian Women’s Poetry, published by Salt in 2007. Both Mead’s and Vickery’s books use Australian poetry as a way of intervening in, or instigating, debates in modern politico-cultural history. (And to these studies we may also add another ambitious piece of poetry criticism, John Kinsella’s more globally focused Disclosed Poetics: Beyond Landscape and Lyricism, Manchester University Press, 2007.)

War, on a sudden, and at one stroke, overwhelms, extinguishes, abolishes, whatever is cheerful, whatever is happy and beautiful, and pours a foul torrent of disasters on the life of mortals – no sooner does the storm of war begin to lower, than what a deluge of miseries and misfortune seizes, inundates, and overwhelms all things within the sphere of its action! The flock are scattered, the harvest trampled, the husband-man butchered, villas and villages burnt – cities and states, that have been ages rising to their flourishing state, subverted by the fury of one tempest, the storm of war. So much easier is the task of doing harm than of doing good; of destroying than of building!

In 1880, John Peter Russell left Sydney to seek an artistic education and, like many painters of the time, ended up in Paris. Vincent van Gogh also migrated to the city’s ateliers, and in 1886 they met. The friendship that developed between the twenty-eight-year-old Australian and the thirty-three-year-old Dutchman continued until the latter’s death four years later. Russell painted a penetrating portrait of Van Gogh that captures both the intensity and untrusting nature of his mentally vulnerable subject. The two men exchanged letters, and Van Gogh sent Russell sketches and photographs.

In death, as in life, Manning Clark casts a long shadow. The author of A History of Australia (1962–87) remains a figure of considerable interest and contention in intellectual and cultural debate. Clark’s imposing oeuvre has its detractors and admirers. In pioneering a fresh and richly imagined awareness of national history for a post-World War II generation of Australians, Clark was an inspiring teacher. He encouraged his students to work with primary source materials. In doing so he assembled for publication three volumes of Australian historical documents that brought the underpinnings of Australian history into the ken of general readers. The publication of these documents served as something of a dress rehearsal for the great task Clark set himself: to write a version of the Australian story he conceived in grandeur and tragedy, nobility and ordinariness. As Carl Bridge has noted, Clark’s History has been seen by some as ‘a majestic blue gum of Australian historical scholarship’, and by others as ‘gooey subjective pap’. With the appearance of each volume, reviewers were sharply divided about the merits of Clark’s style, his interpretation, and even the veracity of his history. But while doubts remain, distance has conceded to the History its standing as a work of literature of the imagination that might sit in the same company as the paintings of Arthur Boyd and Sidney Nolan, or the novels of Patrick White.

The Australian ritual of a federal election campaign every two or three years is one in which voters are invited to participate in hyperbole. Reality is magnified a thousand times as the actors perform a finely choreographed political quadrille while their every word and gesture are scrutinised for meaning and analysed for nuance. Yet for all the expensive and lavish hoopla that now constitutes an election campaign, Australians are a reluctant people when it comes to getting rid of governments, however short they fall in expectations. On only eleven occasions in the 107 years of federation have they opted for change.

What can explain the growing assertiveness of Islamist groups? Why are key aspects of the Islamic faith and civilisation that helped Islam flourish in its Golden Age – respect for life and property, philanthropy, tolerance and a thirst for science – being sidelined in the Muslim world? How can we explain the seemingly unstoppable slide from rational thinking in the Muslim world?

Milton Osborne began his observations of Phnom Penh as a junior Australian diplomat from 1959 to 1961. Norodom Sihanouk presided over a town influenced by a powerful French cultural presence, a buoyant Chinese commercial sector, Vietnamese clerks, Cambodian civil servants, teachers and bonzes, and free-spending Americans. Osborne returned in April 1966 as a Cornell graduate student, then each year until 1971, the year after Sihanouk was deposed and four years before the terrible entry of Pol Pot’s forces. For a short time during Vietnam’s occupation of Cambodia, he worked as a consultant to the United Nations High Commissioner for Refugees on the Thai border, and in 1981 returned to a run-down city full of squatters. In subsequent years, Osborne saw a dispirited and exhausted city regain its self-confidence and some of its joie de vivre, in spite of a government (like others in Asia), rampant with corruption and intolerant of challenges to its power.

Carol Mavor is professor of Art History and Visual Studies at the University of Manchester: a specialist in the field of Victorian photography who has written two earlier books on the subject. She is also one of those rare figures capable of subverting orthodox academic research by stealing some of autobiography’s subjective insight and creative writing’s imaginative reach.

Antarctic exploration began with Captain James Cook’s circumnavigation of the continent (1772–75) and continued intermittently until the first two decades of the twentieth century. Douglas Mawson’s three expeditions coincided with what has been called the ‘heroic era of Antarctic exploration’, beginning with Robert Falcon Scott’s British National Antarctic Expedition (1901–4) and ending with Ernest Shackleton’s Imperial Trans-Antarctic Expedition (1914–17). Four out of the twenty expeditions undertaken in this period stand out: those of Roald Amundsen, Mawson, Shackleton and Scott. However, the present-day polar adventurer Ranulph Fiennes has argued that Mawson did not achieve the fame of the other three, even in Australia, because he survived his explorations and died in old age.

It is tempting to become impatient, and to reach for a gun to resolve a problem, or a knife to cut a Gordian knot. As I write, the Burmese generals have been dithering and obfuscating rather than letting aid workers into their storm-ravaged country. The paranoid preservation of their honour and control bids fair to cause the death of tens of thousands of people. If the Burmese people cannot rise up to change this (and as poor, pacifist Buddhists, they are peculiarly ill equipped to overwhelm a shameless and violent régime), then we should surely invade, distribute the emergency aid, and replace the generals with responsible government. Some people only respond to violence, and surely justice demands this intervention.