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Oxford University Press

Don’t let the title put you off: this book is not purveying social theory but investigates the historical process by which economics became a university discipline in Britain, focusing on how that event changed the nature of economic knowledge. It thus mixes intellectual and institutional history of the highest quality. ‘Constructing’ in the title refers to the cover image of the model built by Vladimir Tatlin and his colleagues of his planned 400-metre tower. Tatlin was a ‘constructivist’ in the sense of the Russian art movement that needed engineers not philosophers. The tower was never realised, much like the ambitions held for economics by Alfred Marshall, its champion at the University of Cambridge, c.1885–1908, who sits at the centre of this book.

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American presidential elections can be frustrating for outsiders. Non-Americans can’t vote, but humanity’s future may depend upon a few votes in a handful of gerrymandered states. I spent much of 2020 driving myself to distraction over the possibility that Donald Trump might be re-elected. I had no such anxiety in 2016: in my opinion, Hillary Clinton did not deserve to win. She personified too many of the failings of what Gary Gerstle (Paul Mellon Professor of American History at the University of Cambridge) has termed the neo-liberal order. Absent Bernie Sanders, I might have voted for Trump myself, had I been a US citizen. Four years on, I believed that foreigners deserved to be able to help unseat Trump. His presidency, as Gerstle explains in his new book, The Rise and Fall of the Neoliberal Order, was the product of the socioeconomic mayhem created by neo-liberalism – and evidence of its decline.

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This is a difficult book to read, not because of its length (nearly 500 pages without references); nor because of its density. It is because this study of prisoners of war in Europe during World War II documents suffering on an almost unimaginable scale. In this theatre of war, more than twenty million servicemen and servicewomen fell into enemy hands. Millions did not survive captivity.

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That Magnificent 9th by Mark Johnston & Alamein by Mark Johnston and Peter Stanley

by
April 2003, no. 250

At 9:40 pm on 23 October 1942, in the North African desert, the heavens lit up with myriad flashes from more than one thousand guns, and the roar of the British Commonwealth Eighth Army’s opening barrage rolled out towards Field Marshal Rommel’s poised Panzerarmee Afrika. Promptly, at 10 pm, when two search-lights arced across the sky, beams crossing, the waiting infantry from Australia, Scotland, New Zealand, South Africa, India, and Great Britain rose from weapon pits, where they had been lying doggo all day, and began to fight their way forward through wired and dug defences, and ingeniously laid enemy minefields stretching up to six thousand metres deep.

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In early 2020, as the SARS-CoV-2 pandemic took hold, a special kind of viral hazard appeared upon the surface of the sea. Offshore from Sydney, Yokohama, San Francisco, and elsewhere loitered cruise liners turned floating hot spots. As they awaited permission to dock and disembark their passengers, the boats became an inadvertent exhibition of cruising-industry foibles. Behind sluggish and patchy Covid action plans, we learned, lurked other forms of misbehaviour, from grotesquely unscrupulous labour practices to systematic tax avoidance. The high seas, it seemed, really were wild.

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One of the most interesting developments in recent Australian historiography has been a pushing back of the frontiers, a recovery of times or phases which seemed quite beyond recall, even when remembered. Such history-writing bears something of the character of sounding in archaeology.

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I was once subjected to a lecture by a Dublin taxi driver ‘on the extensive inequities of the Central Intelligence Agency’. Its every atrocity, in Southeast Asia, Latin America, and the Middle East, was relayed to me. It was an object lesson in the popular contempt in which the CIA has been held since its founding in the 1940s.

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In the twentieth century, the Jewish experience has been dominated by two extraordinary (and related) events: the Nazi holocaust and the establishment of a Jewish state in Israel. It is natural that they should be reflected in Jewish historiography, and especially in the large number of books, articles, and theses concerned with the impact of the Holocaust on Jewish communities around the world. In Europe, especially, where almost every national Jewish community was destroyed, historians (many of them survivors of the events they describe) have been struggling to come to terms with the way these things happened.

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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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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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