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UWA Publishing

The deeply troubled Francis Webb, a magician with language, is still one of the two or three most remarkable poets Australia has produced, if nation-states can be said to produce creative artists. His life proved dark and painful, wherever he was located, but he worshipped language, in parallel with his worship of the Christian trinity ...

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Australia’s feisty first female High Court judge

John Bryson

 

From Moree to Mabo: The Mary Gaudron Story
by Pamela Burton
UWA Publishing, $49.95 pb, 511 pp, 9781742580982

 

H.V. Evatt, on the hustings during an election campaign, was asked by an eig ...

Dorothy Hewett is a vivid presence in all her poetry. This selection from her life’s work opens with a poem written in her last year at school.

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Palestine Betrayed by Efraim Karsh & Gaza edited by Raimond Gaita

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October 2010, no. 325

It is a great pity that Efraim Karsh could not have read Raimond Gaita’s new collection of essays before completing his own. The essays might have prompted him to reflect that the Israeli–Palestinian conflict is not nearly as straightforward as he would have us believe.

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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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Look Who’s Morphing by Tom Cho & Why She Loves Him by Wendy James

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June 2009, no. 312

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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Susan Varga’s latest novel, Headlong, is set in Australia in the opening years of the twenty-first century, with the Tampa episode and detention camps as background. This setting reflects Varga’s own work with refugees and the Nazi camps of her family’s Hungarian past. Headlong relates the downward spiral that the previously indomitable Julia undergoes after the death of her husband. Her two children – the narrator, Kati, and her brother – try everything to restore their mother to physical and mental health, but Julia is adamant: life is hell. The fact that she escaped the Holocaust with her daughter and survived the horror of those years makes the story all the more poignant and distinct from similar stories of grief. Why has this loss defeated her, when she has met every other challenge in life? Has it unlocked the hidden pain of earlier years? This question, and Kati’s ensuing grief and sense of guilt, sustain the novel.

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At the time that I was asked to review Rosemary Lancaster’s Je Suis Australienne: Remarkable Women in France, 1880–1945, I was reading American writer Helen Barolini’s Their Other Side: Six American Women and the Lure of Italy (2006). The books are similar: five of Lancaster’s six chapters are devoted to individual women whose lives and experience, like those in Barolini, cover the period from the late nineteenth century to the mid twentieth. Both books are very much of the transnational moment, with its preoccupations with movement, connections and experience across borders, and premises that the identities of individuals and nations are formed abroad in contact and collision with others, as well as at home. The number of studies of overseas lives continues to grow but is surpassed by transcultural life writing, including Australian, in what has been described as ‘villa/ge’ books, travel writing that is about the destination not the voyaging, about living abroad rather than touring, about subject in situ rather than ‘situ’.

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Part historical murder mystery, part journey towards reconciliation, at the heart of Amanda Curtin’s novel, The Sinkings, is a figure whom we barely meet but whose existence is the key to this remarkable narrative.

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In one of the most haunting phrases contained in Inside Outside (1992), the Australian Jewish autobiographer Andrew Riemer comments on the persistent sense of loss that still shapes him, many years after his entry to Australia as a child immigrant. He writes, ‘exile seals your eyes, allowing you to see only what your longings and your sense of loss will permit’. Earlier, Riemer reflects on his longing for a vanished world, ‘a country of the mind, fashioned from powerful longings and fantasies’. With the undercutting of his own position, so characteristic of his writing, he writes: ‘Perhaps I am merely describing the human condition. I have come to learn that this sense of displacement, of not belonging ... is shared by many …’ And yet, he adds, the experience of migration ‘brings that predicament into sharper focus than might otherwise be the case’.

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