A common approach when talking about women writers is to outline the scope of their work, preferably to demonstrate and affirm its versatility and, implicitly, its value. There’s no doubt that Helen Garner, for example, has suffered under critics’ and reviewers’ insistence that her work deals only with a ...... (read more)
Joan London’s new novel, Gilgamesh, is the story of several generations of travellers, moving between Australia, London, and Europe, as far east as Armenia. As such, it is part of a long and venerable tradition in Australian fiction: a tradition of quest narratives organised around topographical and cultural difference ...... (read more)
Dorothy Porter’s new verse novel, Wild Surmise, takes an almost classic form. The verse novel is now well-established as a modern genre, and Porter has stamped a distinctive signature and voice on the verse form, particularly with the phenomenal success of her racy, action-packed detective novel, The Monkey’s Mask (1994) ...... (read more)
Stephanie Trigg reviews 'The History of Emotions: An Introduction' by Jan Pampler and translated by Keith Tribe
A year or so after I had begun my work in the Australian Research Council's Centre of Excellence for the History of Emotions, the immortal words of 'Ern Malley', 'The emotions are not skilled workers', bored a hole into my brain, dug around a bit, and settled there as a perpetual irritant. Malley's phrase has an oblique genealogy. Coined by James McAuley and Harold ...
Ian Donaldson reviews 'Shame and Honor: A Vulgar History of the Order of the Garter' by Stephanie Trigg
Two photographs from the present book, caught by the British press in 2009, vividly testify both to the fun and to the difficulty of maintaining ancient ritual in the modern world. In the first, a widely grinning Prince Harry, one leg extended in parody of traditional marching style ...... (read more)