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ABR Arts

Theatre

Gaslight 

Rodney Rigby for Newtheatricals in association with Queensland Theatre

Book of the Week

Ghosts of Paradise
Poetry

Ghosts of Paradise by Stephen Edgar

With a title like Ghosts of Paradise, it is no surprise that Stephen Edgar’s latest poetry collection is haunted by loss, mutability, and mortality – the great traditional themes of elegiac poetry. But Edgar’s poetry has long, if not always, been characteristically elegiac. In this new collection, Edgar’s first since winning the Prime Minister’s Award for poetry in 2021 (and his first for Pitt Street Poetry), the poems are haunted by the poet’s late parents, late fellow poets (especially W.B. Yeats, but also the Australian poet Robert Adamson, for whom there is an elegy), and ancient poetic forms, such as the sonnet. The collection also includes meditations on ageing, corpses, and photographs (including Roland Barthes’ ‘theory / That every photo is a memento mori’). An interest in the intertwining of memory, embodiment, and visual representation is powerfully realised in ‘Still Life’, in which the memory of a trip to Broken Hill is

Interview

Interview

Interview

From the Archive

July 1999, no. 212

The Secret Life of Money: Exposing the private parts of personal money by Valerie Wilson

I wouldn’t have minded being a fly on the wall when Valerie Wilson did the research for this book. It began life as a PhD project in the University of Melbourne’s Business School. Wilson wanted to find out what underlying attitude people had to money. She should have asked me. I love the stuff. Just don’t see enough of it.

From the Archive

From the Archive

April 2009, no. 310

Dogboy by Eva Hornung

Writing as Eva Sallis, Eva Hornung earned enough prizes and shortlistings to send a reviewer sprinting shame-faced to the nearest library. Fortunately, Joyce Carol Oates, with her inordinately prodigious output, sees no grounds for guilt: ‘Each book is a world unto itself, and must stand alone and it should not matter whether a book is a writer’s first, or tenth, or fiftieth.’ Thus, while a predilection for wild life might be deduced from some of Sallis-Hornung’s previous titles (The City of Sea-lions, 2002, The Marshbirds, 2005) and an Arabic orientation from others (Hiam, 1998, Sheherazade through the Looking Glass, 1999), Dogboy, which is set in Moscow, begs to stand on its own hind legs.