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After Italian troops had invaded the Papal States to establish the nation’s capital in Rome in 1870, Italian Catholics were prohibited from voting in political elections. When this policy began to be relaxed in late 1918, a Sicilian priest, Luigi Sturzo (1871–1959), founded the Partitio Popolare Italiano (PPI) which was to be aconfessional but ‘inspired by Catholic principles’. It was the precursor of the Christian Democratic party that has ruled Italy for the past thirty years.

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A new series called Interpretations, published by Melbourne University Press, aims to provide up-to-date introductions to recent theories and critical practices in the humanities and social sciences. Series Editor, Ken Ruthven, answers some questions about the role and reception of critical writing.

 


Does the brief introduction to the series, which says it ...

When Dorothy Hewett won the Victorian Premier’s Literary Award for non-fiction with the first volume of her autobiography, Wild Card, it was a popular choice on the night. She’s a writer who has attracted all kinds of controversy, from libel suits to outrage over her flamboyant politics, both sexual and social. She has published four volumes of poetry, thirteen plays, but only one novel, called Bobbin Up, back in 1959. Jack Beazley, in a review for the Communist Review, criticised the novel for ‘an overstressing of physical relations’; a judgment that evidently didn’t deflect Dorothy Hewett from her interests, since physical relations, and the way that women feel about them, are still stressed in The Toucher. Setting herself a difficult task, Hewett has placed her central character, a woman writer, in a wheelchair, and without the company of a male lover, in order to talk about some of the things that preoccupy her now: old age, loneliness, physicality, relationships, personal history. She’s a generous talker, open and friendly, willing to think about any topic that is presented, and obviously very pleased to have produced another novel after years of believing that she couldn’t write one. I began by asking Dorothy Hewett how she felt about returning to the novel after so many years writing poetry and plays.

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The Toucher by Dorothy Hewett

by
June 1993, no. 151

The publicity for Dorothy Hewett’s first novel in thirty-four years bills The Toucher as ‘a story of sexual intrigue, memory and death’. Maybe, but there’s also a lot more going on, as Hewett subverts conventional ideas of romance, ageing, morality, fiction and autobiography, and the end to which we come.

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Who made the best Sachertorte in the world? Andrew Riemer’s mum. The recipe is lost now, but it came from the Ursuline nuns in Sopron, a small Hungarian town where Andrew Riemer’s mother grew up. This information comes early in The Hapsburg Cafe, which is an account of the author’s second visit to the places of his childhood (the first account being recorded in Inside Outside). I waited and waited for him to go to the Ursuline Convent in Sopron and get the recipe, but the duffer never did. Even though he called a part of the book ‘Remembrance of Things Past’. Men. What’s a Madeleine when you could have a Sachertorte?

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Verity Burgmann’s Power and Protest is an evocation of the major social movements that have arisen and thrived in Australia since the late 1960s, the black, women’s, lesbian and gay, peace and green movements. The writer is a well-known historian of Australian radicalism as well as a political scientist, and in combining history and politics she joins other social scientists such as Terry Irving, Judith Brett, James Walter, Murray Goot – an interesting tradition. In each chapter she offers an evocation of the various movements, outlining origins, developments, aspects, divisions, conflicts, difficulties, dilemmas, successes, achievements, as well as the opposition and resistance to these movements in the wider society. Burgmann writes with ease and energy, often with enjoyable irony and sarcasm. I liked her reference to Kate Millett’s Sexual Politics (1970) as ‘ovarious’. Power and Protest is entertaining as well as clear, and will surely prove indispensable for teaching.

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For part of my life I lived for many years in a monastery. Singing, particularly of plain chant, was important, and the monastery was divided, with a monastic, unworldly sense of the implication of its metaphors, into ‘the choir’ and ‘the scrubbers’. I excelled. Whatever vocation I had, it certainly included being an eternal scrubber. For many years I spent fifteen minutes a day with a patient friend who attempted to teach me to sing the Gospel for the third Sunday before the Epiphany. Standing in the monastery basement and earnestly inhaling the smell of monks’ football boots and sandshoes and unwashed football jumpers, I could never get this simple piece of plain chant right.

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In this issue, Hugh Mackay replies to Richard Hall’s essay in last month’s issue and his reply is printed here in full, unedited, at his insistence – which was communicated to me by his lawyers. As a matter of principle, of course, ABR offers right of reply, which is indeed a regular feature of the magazine, most commonly through the letters to the editor. On this occasion, given Hugh Mackay’s insistence, ABR includes his 3,300-word reply as a special feature.

In his reply, which he calls a ‘rebuttal’, Hugh Mackay points out that The Mackay Reports are not ‘books’ and therefore wonders ‘why they got a run in ABR’. I am interested that Hugh Mackay appears puzzled that matters not in ‘book’ form should come into the domain of ABR.

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The forbearance of those writers who entered the Australian Book Review and Reader’s Feast Short Story Competition has been as exemplary as their commitment to short fiction. I am pleased to be announce the shortlist:

Ian McFarlane: ‘A Balance of Probabilities’

Katarina Mahnic: ‘Flying Recipe’

B.E. Minifie: ‘There Has to be a Resemblance’

Carrie Tiffany: ‘Dr Darnell’s Cure’

Susan Yardley: ‘The End Is Where We Start From’

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ART

Contemporary Aboriginal Art: A guide to the rebirth of an ancient culture

by Susan McCulloch

Allen & Unwin, 248 pp, $39.95 pb

1 86508 305 4

Contemporary Aboriginal Art (first published in 1999) contains a wealth of information for those interested in the history, practice, and culture of Aboriginal art. By its very nature, Aboriginal art is constantly changing and evolving, and, in this revised edition, Susan McCulloch details new developments in already well-established communities, and the emergence of some entirely new movements. McCulloch, visual arts writer for The Australian, has travelled extensively to the Kimberley, Central Australia, Arnhem Land and Far North Queensland, and her book provides first-hand accounts of Aboriginal artists and the works they are creating.

Beautifully illustrated, Contemporary Aboriginal Art also contains a comprehensive directory of art centres and galleries, a buyer’s guide, and a listing of recommended readings.

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