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Georgie heard it too. On the very first morning of this story, though so much had gone beforehand. The usual warbling of the typical magpies, if anything so mysteriously complex as a magpie’s song can be called typical. There she’d lie, day after day, alongside Muir in their countless beds, in cramped corner flats and large creaking homesteads, in cold fibro shacks and bedsits baking for the lack of ventilation, listening to the warbling giving birth to the light upon its loom: the many coloured strands of light that, no matter where they were, began each ordinary day. Muir would hurrumph in bed – he was a cranky sleeper; he dreamt of his novels’ characters, he told her, was not to be disturbed, except for sex – his thick freckled shoulder would rise against her and she would sigh and listen, to the coming of the light, until it was eventually strong enough for her to muster the energy and get the kids ready for school. More often than not it was a new school.
The real estate agent told me not to bother cleaning the house. All the serious buyers would be developers, he said: they’d only knock it down. They’d cut down the row of feijoas and the Japanese maple and build all the way to the fence on three sides. And they’d go up, of course, to take advantage of the views. A corner block on the highest hill in the inner east? Tell your dad he’s laughing.
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The thing that has distinguished the ‘inspired genius’ from the run of the mill ‘practitioner’ in all creativity is quality of mind. Michael Leunig, few Australians have to be told, has this. But astonishingly, quality of mind has not been a gradual, developing part of Leunig’s work, for it was evident as an integral part of his art, first widely seen in the pages of the fondly remembered National Review fifteen years ago. This is not to say he has not developed – he has in subtle directions and of course his graphic expression too has developed, as it should, with the discipline of creating for the Melbourne Age newspaper.
Defamation is easy. Australia has any number of good defamation lawyers who will ‘legal’ a manuscript if you pay them enough. But if your manuscript threatens to transgress the National Secrets Act, you are on much shakier ground. Axis of Deceit, Andrew Wilkie’s ‘story of the intelligence officer who risked all to tell the truth about WMD and Iraq’, was always going to be hot. Our investigations didn’t turn up a single Melbourne lawyer who could advise us if we had crossed the line, so we asked David Wright-Neville, a Monash academic and ex-spook (like Wilkie, he had been an analyst at the Office of National Assessments, Australia’s peak intelligence agency), to check the manuscript. He read it thoughtfully and suggested chopping a dozen or so offending passages, which was acceptable to both Wilkie and Black Inc.