Declan Fry

Declan Fry reviews 'Inside Story' by Martin Amis

Declan Fry
Thursday, 22 October 2020

During a 1995 television interview on Charlie Rose soon after the publication of Martin Amis’s The Information, another long novel, there is a moment when, as Rose begins to read the opening passage, Amis’s mouth visibly slackens. Silently he intones the first lines. His hand (often tentatively raised toward his chin in interviews) searches out his forehead. There is a spectral waver in his gaze, a registering (as if accommodating, or incorporating, new information). He looks adrift, unmoored. Free-floating. One has the sense of a man assimilating his own self as it is spoken back to him. For a moment, he seems precarious.

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Declan Fry on 'Fire Front: First Nations poetry and power today

The ABR Podcast
Thursday, 13 August 2020

Fire Front, edited by Gomeroi author and scholar Alison Whittaker, is an anthology of contemporary First Nations poetry. Featuring several eminent Australian writers – including Ellen van Neerven, Tony Birch, Alexis Wright, and many more – this collection serves as a testament to the contemporary renaissance of First Nations poetry. It is divided into five thematic sections, each introduced by an essay written by a prominent Aboriginal writer and thinker, such as Bruce Pascoe, Ali Cobby Eckermann, and Evelyn Araluen.

In this episode, listen to Declan Fry discuss Fire Front before reading his review of the book. 

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Acknowledging the limits of Acknowledgments of Country, the Wiradjuri artist Jazz Money once wrote:

whitefellas try to acknowledge things
but they do it wrong
they say
           before we begin I’d like to pay my respects
not understanding
that there isn’t a time before it begins
it has all already begun

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‘The constant loss of breath is the legacy.’ So wrote poet Ali Cobby Eckermann in 2015 for the anthology The Intervention. The eponymous Intervention of 2007 in the Northern Territory was, in the long history of this continent, the first time that the federal government had deployed the army against its own citizenry. As I write this review, in the United States police are using tear gas, traditionally reserved for warfare, against those protesting the worth of black life, while the president flirts with the idea of calling in the military. Some of us gasp in shock. Some, in suffocation.

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Perhaps reflecting the long gestation period of Bem Le Hunte’s third novel, the term ‘Asian Century’ occurs early on in Elephants with Headlights. The sobriquet is certainly apt. Induction into this vaunted space does not befall a country haphazardly: its temporal aspect serves to remind us that the fate is written in centuries-old geopolitical legacies. Before there was an ‘Asia’ to eponymise in this fashion, a wealth of cultures simply went about their business. But the determinations of capital and colonisation were made long ago, and now we live with the press.

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