Archive

Brian Matthews reviews 'Cricket Kings' by William McInnes

Brian Matthews
Monday, 02 November 2020

It was the first game for the season in some halcyon year of my cricketing past. We’d scraped together a team, but the other mob was rumoured to be a couple short. Their first three batsmen were competent enough and made a few. Then a collapse brought number eight to the wicket. Impeccably clad, he was one of those blokes who puts his gloves on after taking guard and then spends minutes surveying the field, pointing to each position with his bat, as if burning them into his tactical memory. At last he faced his first ball, which went straight through him and took the middle and off stumps out of the ground. ‘Bad luck, mate,’ said one of our blokes, with a kindness the ensuing months would erode. ‘First knock for the season, eh?’ The beautifully attired number eight looked at him in astonishment. ‘First knock ever,’ he said.

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Some years ago, Robert Hughes bemoaned the capitulation of art museums and galleries to ‘the whole masterpiece-and-treasure syndrome’. Although made in the 1980s, Hughes’s point may still be valid, especially if the number of recent exhibitions with the word ‘master’ in their titles is anything to go by. A quick check reveals that, in Australia, the National Gallery of Victoria is particularly fond of the word. In Melbourne last year, we had ‘Dutch Masters from the Rijksmuseum, Amsterdam’ and ‘Albrecht Dürer: Master of the Renaissance’. In 2004 the NGV put on ‘The Impressionists: Masterpieces from the Musée d’Orsay’.

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Australians have a reputation as avid travellers. Prompted by our isolation, our international ancestry or basic curiosity, we roam far and wide, often for years. One million Australians currently reside overseas. Away Game examines an expanding niche within this group; those antipodeans living Stateside at the respective helms of such corporate giants as Ford Motors, IBM, Dow Chemicals and, until recently, even the all-American bad boys of the food industry, Coca-Cola and McDonalds.

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It used to be said in decades gone by that overseas acting luminaries only came to Australia when their stars were in decline. This was never true in the case of Sybil Thorndike, who was critically acclaimed here, and widely admired as a person. She was not one of those who was past her prime – or, like some, never had one. She remained in her prime until she died in 1976. It is indeed hard to imagine her contemplating any other approach.

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Faced with the publication of her first novel, the narrator of Stepping Out has a terrifying thought. ‘I was about to be unmasked,’ she realises. ‘End of my double life. Everyone was about to dip into my world and find out what was really cooking there ... I felt like I’d placed a bomb and was waiting, under cover, for it to explode.’

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Valentine Alexa Leeper: it’s a name to conjure with. The daughter of the first warden of the University of Melbourne’s Trinity College, Alexander Leeper, she was christened ‘Valentine’ because she was born on 14 February. No name could have been less appropriate: she was to prove a committed spinster. She was remarkable for a number of reasons, not least of which was that her life spanned an entire century. Born in 1900, she survived into the twenty-first century. Although her life experience might have appeared narrow and confined (she never travelled abroad, for example) Valentine had the advantage of growing up in a university environment and was possessed of a formidable intellect; her interests were wide and she was active in many organisations, ranging from the League of Nations Union to the Victorian Aboriginal Group.

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The familiar triumvirate of globalisation, advanced technology and consumerism has altered feminist, activist and subcultural practices so dramatically that their originators have trouble recognising them, and academics are racing to keep up. Next Wave Cultures acknowledges and embraces these upheavals in women’s social and political action. Anita Harris has selected a motley group of eleven essays that cover a diverse range of lifestyles, identities, communities and activities.

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Jo Case reviews 'Lemniscate' by Gaynor McGrath

Jo Case
Friday, 30 October 2020

Travellers’ tales have long starred curious misfits eager to sample different ways of life in faraway places. In On the Road (1957), Jack Kerouac writes of fleeing his cultured, sedentary New York milieu for the company of the insatiable ‘Dean Moriaty’, who, rather than analysing the world from the sidelines, ‘just ra ...

Late in 2005, after months of delicate negotiations, the National Library of Australia announced a remarkable coup: the purchase of a previously unknown collection of fifty-six watercolours of botanical and ornithological subjects drawn and painted in Sydney in the years 1788–90, the cradle period of European settlement in Port Jackson. The significance of these paintings, unsigned and undated, had for many years gone unrecognised. The watercolours, apparently acquired as early as 1792, had been held in England over several generations by the Moreton family, the Earls of Ducie. Over several generations, their significance had apparently been overlooked or simply not understood; in time, the portfolio, though safely held, had been forgotten. It came to light in 2004 during a routine valuation of the estate of Basil Moreton, sixth Earl of Ducie. The eventual sale was negotiated with representatives of the present and seventh Earl, David Moreton, who was committed to honouring his family’s long connection with Australia on properties in Queensland. But before that, it was necessary to identify the works more definitively beyond their (then) presumed Australian subject matter.

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Self-evidently, the short story demands precision. The term ‘short story’ more than likely brings to mind the magazine-length sprint or the rapidly delivered epiphany. John Updike was a master of this demanding form. In his Olinger and Tarbox tales, characters are assembled quickly and sent to their fate with little delay. Never cursory, this was writing performed under haiku-like restraint. In the short stories of Wendy James and Tom Cho, we are presented with similarly brief and precise tales of two different Australian landscapes: one as small as a kitchen, the other as capacious as an arena. Why She Loves Him is James’s first story collection after two well-received novels. For the most part, the stories are quiet and domestic affairs. Her characters are frequently repressed and restrained, filled with rage that is rarely given voice. If the short fiction of some novelists feels too constrained, James’s evocation of despair is perfectly suited to these short bursts.

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