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Monash contributor

In Blockbuster! Lucy Sussex deftly relates the story of Fergus Hume and his great Melbourne detective novel, The Mystery of a Hansom Cab. First published in 1886, it has never been out of print and has been translated into many languages and a ...

Why Acting Matters by David Thomson & Great Shakespeare Actors by Stanley Wells

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August 2015, no. 373

Why Acting Matters has on its cover the face of an ape; well, actually it’s Andy Serkis playing Caesar, ‘the top ape’ in Dawn of the Planet of the Apes (2014). The point of this rather unexpected image from a movie not discussed in the book is, the blurb tells us, that ‘acting is baked into our primate DNA’. These two books, however, by elder ...

Since the loss of Lake Pedder, the Apple Isle has been the site of some of Australia’s most famous environmental battles: Franklin River, Farmhouse Creek, Wesley Vale, Styx Valley. In the Tamar Valley near Launceston, tensions continue to simmer over the future of the Gunns Pulp Mill – even in the wake of the collapse of its original proponent, Gunns Ltd, in Sep ...

The Great War produced its own idiom and slang. Many of the new words and phrases created during the long conflict, such as ‘tank’ and ‘barrage’, became part of standard English, although often with a different nuance of meaning.

The recording of Australian soldier slang was seen as important at the end of the war. It was recognised as being integral to the unique character of the Australian soldier and linked to the official war historian C.E.W. Bean’s characterisation of the Australian soldier as the bronzed bushman and an outstanding fighter with a disdain for authority. In 1919, W.H. Downing published Digger Dialects; he described the slang he had collected as ‘a by-product of the collective imagination of the A.I.F.’. In the early 1920s, A.G. Pretty, chief librarian at the Australian War Museum, later the Australian War Memorial, compiled a ‘Glossary of Slang and Peculiar Terms in Use in the A.I.F.’. Amanda Laugesen (now the director of the Australian National Dictionary Centre at the Australian National University) has previously edited an online version of Pretty’s ‘Glossary’ and in 2005 published Diggerspeak: The Language of Australians at War.

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John Howard has long been concerned with countering what he regards as the domination of Australian historical writing by the left. His project was initiated before he gained the prime ministership, most notably in his Menzies Lecture of 1996, in which he claimed that most of the distinctiveness and achievements of Australian politics were grounded in the liberal tradition. It continued during the ‘history wars’ from 1996 to 2007 – a subsidiary element in his largely successful attempt to reshape the contemporary understanding of liberal individualism. His massive new book on Menzies and his times is the summa of this enterprise.

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Paul Kelly’s considerable research ability, enviable political knowledge, narrative skill, and indulgence in polemics all figure in his new book. The former qualities make it a must-read for the politically engaged; the latter is so pronounced that such readers may succumb to frustration and throw the book at the wall before reaching the valuable final chapter where at last we arrive at a coherent account of the systemic roots of ‘the Australian crisis’.

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Wolf Hall on Stage

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22 May 2014

Hilary Mantel’s Booker Prize-winning novel Wolf Hall has now been dramatised, along with its sequel, Bring up the Bodies. Brian McFarlane, a regular ABR film and theatre critic, caught the new Royal Shakespeare Company production in London.

If, like me, you were not a fan of Hilary Mantel’s historical doorstops, Wolf Hall (2009) ...

Anyone lucky enough to have read Arguments with England (2004), the first volume of Michael Blakemore’s memoirs, will be eager to read the second, Stage Blood, in which he traces the tumultuous history of his years at London’s National Theatre. Further, anyone as lucky as I was to see such productions of his as Long Day’s Journey into Night in 1971 will be agog to read the new book in the hope of insights about their genesis. Such people will not be disappointed.

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You walked with me

that day, or night, I wasn’t walking
perhaps, maybe I wasn’t me

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Film-wise, 2013 has been the year of adapting dangerously. Dangerously, that is, in the sense of daring to affront devoted readers of the original novels or plays, valuing enterprise over fidelity. Now, just after admirable versions of Much Ado about Nothing and What Maisie Knew have finished their runs, we have director–screenwriter Andrew Ada ...