Andrew Fuhrmann

Andrew Fuhrmann: 'Southerly, Vol. 72, No. 2'

Andrew Fuhrmann
Sunday, 28 April 2013

The critical essays collected in this current issue of Australia’s oldest literary journal make for frustrating reading. The theme is true crime, with a focus on the relationship between the sensational and the literary. Topics range from Underbelly Razor to the Jerilderie Letter to Schapelle Corby’s autobiography. Fascinating material, no doubt, but most ...

A Clockwork Orange

Andrew Fuhrmann
Friday, 26 April 2013

You’ve got to admire the bolshie great yarbles of young British company Action to the Word. It must have taken much courage and not a little jejune presumption to dream of touring Anthony Burgess’s novel A Clockwork Orange (1962) to such capital city main-stage venues as Melbourne’s Malthouse Theatre, QPAC in Brisbane, and Canberra’s Theatre Cen ...

Hate

Andrew Fuhrmann
Tuesday, 26 March 2013

Stephen Sewell’s sixth play, Hate, first performed in 1988 and written with a bicentennial commission, is a monster of ambition. It is a play that seems to swallow whole the Australian story since 1788 and represent a family tragedy, one steeped in the ritual violence of an Ancient Greek myth or a perverted Easter drama.

It is Mau ...

Wild Surmise

Andrew Fuhrmann
Tuesday, 20 November 2012

Was there ever an Australian poet who drank so deep of that turbid spring, enthousiasmos, Aristotelian enthusiasm, as Dorothy Porter? From the grungy vitality of her early collections, to the exuberant embrace of popular genre fiction in her five verse novels, to the high, passionate tone of her lyrics, libretti, and later collections, she was never less than ...

On the Misconception of Oedipus

Andrew Fuhrmann
Tuesday, 25 September 2012

How is it that the sordid ‘familial romance’ of Laius, Jocasta, and Oedipus, or ‘daddy, mommy, and me’, came so completely to define the concept of desire in the modern West? For Deleuze and Guattari, authors of The Anti-Oedipus, that is the true sphinxian riddle at the heart of the Oedipus materials, the myth, and its subsequent interpretations from ...

The Histrionic

Andrew Fuhrmann
Monday, 23 April 2012

‘An admired talent for the theatre / Even when I was small / A man born of the stage you see / Histrionic / Setting snares even when very little.’ Such is the epigraph to Thomas Bernhard’s The Histrionic (Der Theatermacher), drawn from the play’s principal character, the megalomaniacal Bruscon. The image of the snare, or trap, is a common o ...

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