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University of Western Australia Press

Emily Ballou’s first book of poems opens with a quotation from Coleridge’s Definitions of Poetry: ‘Poetry is not the proper antithesis to prose but to science. Poetry is opposed to science.’ A book of poems on the life of Charles Darwin must be a refutation of this idea, though I had expected a more direct return to the comment which, two hundred years after Coleridge wrote it, has accrued greater meaning. In Coleridge’s time, the dazzling and potentially alienating specialisation of the sciences had not occurred, and C.P. Snow had never hailed the ‘two cultures’. Anti-intellectualism had not yet colluded with postmodern suspicion of reason to decry the malign, hegemonic nature of Western science. Coleridge, like many educated men of his time, was conversant with the latest advances in most branches of the sciences. He enjoyed a close friendship with Humphry Davy, the foremost scientist of the day, who also wrote poetry.

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There is no sound of the sea, a long row down the mirror-like waters of Wagonga Inlet crowded with forest reflections. The wind twists and dives in the tree canopy, the soft whisper mixing with bird calls and the occasional barking of a dog from across the water. The small flower heads of clover quiver in the gulps of wind pushing the big-bellied clouds, rain stained, across the mountains. I am cosseted in a snug cottage kitchen with the smell of apples, warm milk and the sweet taste of honey on chunks of freshly baked bread. My eyes follow the patterns smudged across the mangrove flats where the tides tell me the time of day. I am holidaying on the south coast of New South Wales, the perfect place to be reading Martin Harrison’s collection of new and selected poems, Wild Bees.

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Scattered across Lake Ballard, a vast salt lake north of Kalgoorlie, are fifty-one androgynous abstracted cast-iron alloy figures created by British artist Antony Gormley in 2002, all based on scans of the inhabitants of a tiny goldfields settlement. Gormley described his figures as ‘strangers in a strange land’. It is not too wild a stretch of the imagination to see them as explorers or prospectors driven by powerful dreams to wander endlessly across a shimmering landscape. One of these figures provides an evocative cover image for Land of Vision and Mirage.

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In the opening pages of an early manuscript, ‘A Feast of Life’, Elizabeth Jolley ponders the question of whether a novel should have a message. She has no answer, but will write out of her ‘experiences and feelings’. If her writing does help anyone, then ‘let a message be found’, so that she might ‘feel that I am at least doing something in a wider sphere than the domestic routine within the walls of the little house’. Jolley goes on to describe her method: ‘I shall start in the early years of my life and try to make things take some sort of order but order is not a strong point with me and I shall write with all my heart so that there will be the noise of my children in these pages …’

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At the dinner to celebrate the fiftieth anniversary of Quadrant magazine in October 2006, John Howard gave one of the most revealing speeches of his prime ministership. Celebrating with the magazine the victory of democracy over communism, he went on to denounce a whole range of left-wing sins. He attacked the New Left counterculture, where it had become the ‘height of intellectual sophistication to believe that people in the West were no less oppressed than people under the yoke of communist dictatorship’. Moreover, ‘it had become de rigueur in intellectual circles to regard Australian history as little more than a litany of sexism, racism and class warfare’. Fortunately, a ‘few brave individuals’ took a ‘stand against the orthodoxies of the day’; Howard congratulated Quadrant for defending both Geoffrey Blainey and Keith Windschuttle ‘against the posses of political correctness’. Nowhere were ‘the fangs of the left’ so visible as in the character assassination of Geoffrey Blainey. Despite some progress, the ‘soft left’ still ‘holds sway, even dominance, especially in Australia’s universities by virtue of its long march through the institutions’. Howard then likened the current struggle against Islamic terrorism to the Cold War, and criticised opponents of the war in Iraq ‘who now talk as if Iraq was some island of Islamic tranquillity before 2003’. Although there was some criticism of the speech in the media, the most notable aspect was the chorus of compliments that amplified its main themes. Greg Sheridan applauded the way the prime minister had ‘rightly bemoaned the continuing dominance of the soft Left’ (Australian, 7 October 2006). Michael Duffy thought it was ‘probably the most ideologically impressive [speech] ever made by the Prime Minister’ (Sydney Morning Herald, 7 October 2006). Piers Akerman approved the way ‘Howard is not going to let those who lacked his and Quadrant’s commitments to those ideals [i.e. intellectual freedom and liberal democracy] forget where they stood … To peals of laughter, he quoted George Orwell: “One has to belong to the intelligentsia to believe things like that: no ordinary man could be such a fool”’ (Daily Telegraph, 5 October 2006). Miranda Devine thought this address, recalling ‘50 years of the left’s worst excesses’, ‘was a speech to cement the “real” John Howard’s place in history and his role in the culture wars, through which he has steered Australia resolutely and irrevocably in his ten years in office, much to the chagrin of his detractors’ (Sydney Morning Herald, 5 October 2006). Janet Albrechtsen rejoiced that, ‘[o]nce again, Howard seems to be embracing an electorate willing to confront old orthodoxies. And the remarkable thing is that after 10 long years in power, Howard the conservative is still a front-foot reformer, challenging the status quo. As with his previous battles in the culture wars, education reform will demand a marked shift in the way Howard is ultimately judged by history: not as merely an economic steward but as a crusader in the ideas war’ (Australian, 25 October 2006).

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