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Chameleon by Robert Dessaix

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May 2025, no. 475

Erudition for its own sake is perhaps not as prized in the world of Australian letters as it once was; in an age when sparsity is king – where blunt clarity and a kind of punchy journalese dominate contemporary essay writing – loquaciousness and intricate wordplay are undervalued commodities. Feathery intellectualism of the type personified by Robert Dessaix might not be much in vogue, which is precisely why it feels so joyful and necessary. Chameleon, his latest work of memoir, is discursive and prismatic, wise and worldly. For the shambolic musings of an esteemed octogenarian – ‘now at the end of my life, at the fraying, but suddenly illumined, highly coloured end of my life’ – it is expertly calibrated, often remarkably vivid, and always exquisitely articulated.

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‘Bea never swam with the tide’, observes Judith Brett in her eloquent biography of the social reformer, activist, and public intellectual Beatrice Faust. Brett takes us behind the public face of this confident, outspoken, and strident political figure, whose name became synonymous with second wave feminism in Australia. The psychological reading of Faust that Brett offers, in a refreshingly analytical approach provides depth, complexity, and insight which makes this beautifully written book compelling to read.

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The Yirrkala Bark Petitions were intensely significant in Australian politics, contributing not only to major changes in race relations in Australia but to the way Australians understood their country’s history and its future. Clare Wright’s Näku Dhäruk is a lucid, accessible, and engaging account of those 1963 Yolngu1 Petitions from the Yirrkala region of Arnhem Land: her book will deservedly be read widely and throw new light on the complex events which shaped this turbulent time. Yet as powerful and moving as this book is, it will leave some readers with lingering questions. This review will outline some of its many strengths, and will also suggest some of those questions.

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The Empusium: A health report horror story by Olga Tokarczuk, translated from the Polish by Antonia Lloyd-Jones

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March 2025, no. 473

The title of The Empusium, the newly translated work by Polish writer Olga Tokarczuk, winner of the Nobel Prize in Literature, is an invention. It is a portmanteau that fuses masculine and feminine literary allusions: first, Plato’s Symposium, which tells of a drunken Athenian banquet in which great statesmen give speeches on the nature of love; second, the empusa, a shape-shifting female demon who, according to Greek mythology, had the sirenic ability to lure and prey upon young men.

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Picnic at Hanging Rock, the 1975 film directed by Peter Weir, has achieved iconic status in Australian cinema, while the story on which it is based has also yielded a television drama series, a ballet, plays, and a musical. Indeed, the fiftieth anniversary of the film is being marked by the Sydney Theatre Company’s revival of Tom Wright’s modern adaptation. The story enjoying this long and varied life was originally published as a mystery novel in 1967. Yet the author of that story, Joan Lindsay (1896-1984), is herself something of a mystery. Aged seventy-one at the time of her novel’s publication and scarcely known as a writer, she has received little recognition since.

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It is rare to encounter spacecraft in nature writing. Indeed, most definitions of nature confine it to Earth’s boundaries. A few pages into Lauren Fuge’s book, we are treated to the image of two Voyager space probes, more than sixteen billion kilometres from the Earth and ‘driven by the most ecstatic imaginings of human exploration’. This is a mark of Fuge’s ambition. She is as comfortable crossing the frontiers of interstellar space as she is describing oystercatchers pattering feather-light in the sand.

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Recent decades have seen no shortage of what might broadly be called diasporic Australian novels. Works by Brian Castro and Michelle de Kretser, among others, come to mind. Raeden Richardson adds fruitfully to this tradition with his complex début novel, The Degenerates, which sets out from then-Bombay and journeys to the streets of Melbourne and New York. It is not quite a ‘constellation novel’ (the term coined by Polish novelist Olga Tokarczuk), in which textual fragments and polyphonic voices build a narrative. Richardson nevertheless offers a series of story threads that slowly accumulate and nudge the boundaries of conventional form and storytelling.

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This volume brings together two highly credentialled thinkers about moral and ethical matters: Peter Singer, the Ira W. DeCamp Professor of Bioethics at Princeton University, and Venerable Shih Chao-Hwei, a Taiwanese Buddhist nun, founder of the animal welfare organisation the Life Conservation Association and the Buddhist Hong-Shi College, as well as a lecturer at Hsuan Chuang University.

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It is 1992, the year of the Mabo judgment, and Helen, a scholarship student from Tasmania, is undertaking a PhD at Cambridge, writing a thesis titled ‘Cryptomodernism and Empire’. It is on Joseph Conrad, a writer about whom her peers are contemptuous. Helen is dealing with a forlorn and dismissive supervisor, and the disappointment that her experience abroad was not what she had expected. Her ‘fantasy of vigorous literary talk, multisyllabic and theoretical, was soon defeated’.

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Transformation is one thing. Conversion is another. With its Latin roots con (with or together) and vertere (to turn or bend), conversion is haunted by a sense of coercion, the imposition of one will over another. In Virginia Woolf’s Mrs Dalloway, conversion comes in the form of Clarissa Dalloway’s daughter’s evangelistic tutor, Doris Kilman, the violence of colonialism, and brutish attempts by psychologist Sir William Bradshaw to instil ‘a sense of proportion’ into his vulnerable patients. Sir William gets what he wants. He ‘shuts people up’ under the auspices of ‘the twin goddesses of conversion and proportion’. Converting, for Woolf, means ‘to override opposition’. 

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