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ABR Arts

Book of the Week

A Memoir of My Former Self: A life in writing
Memoir

A Memoir of My Former Self: A life in writing by Hilary Mantel, edited by Nicholas Pearson

In the title piece of this posthumous selection of reviews, criticism, essays, and journalism, Hilary Mantel describes how she once visited an irritating psychic she nicknamed ‘Twerp’ in order to guide her back to her former self: ‘I didn’t necessarily think I had a past life, but I wanted to know how it would feel if I did.’ Her former self turns out to have been a ‘miserable illegitimate infant’ called Sara, born to a family of millworkers in the north of England. Sara isn’t an unlikely candidate: Mantel’s mother worked in a cotton mill from the age of fourteen, as did her maternal grandmother, who left school aged twelve; Mantel’s great-grandmother had been illiterate. Mantel comes from ‘a long line of nobodies’. All that ‘Twerp’ wants to ask Sara is whether or not she is courting, when the real love of Sara’s life is Billy, her white bull terrier. ‘If Sara had slapped him,’ Mantel wonders, ‘what sort of a defence would I have had to a charge of assault?’

Interview

Interview

Interview

From the Archive

November 2001, no. 236

What the Painter Saw in Our Faces by Peter Boyle & The June Fireworks by Adrian Caesar

These two new collections are obverses in contemporary Australian poetry and show the opposing, but often interlocked, tensions between modernism and postmodernism. The poems in both books concern themselves with art’s capacity to create or suggest other worlds. Both use painting and the visual arts in dramatically different ways as metaphors and motifs. Both collections fragment and project the perceiving self into alternative ficto-autobiographies, but with different expectations of resolution. Both conjure up real worlds of political and institutional corruption on an international scale and pit moments of fragile subjectivity and domestic harmony against grubby injustice. Both register their authors’ age at around fifty. Caesar hankers after an ethical response; Boyle juxtaposes aesthetic possibilities. Caesar’s poetry is restrained, measured, spare; Boyle’s is crowded, insistent, histrionic.

From the Archive

October 1995, no. 175

Return to Babylon: Barrie Kosky’s production of Verdi’s ‘Nabucco’

In Sydney last month, Barry Kosky’s production of Verdi’s Nabucco was booed by a section of its first-night audience, a unique occurrence, this, at the Australian Opera, but one that Kosky took in good part as an extension of the ‘playful’ side of the evening’s events.

From the Archive