NewSouth

A confession: I was a child actor. Never a child star, although certainly that was the intention. For years I endured the three-hour drive from Canberra to Sydney, preparing for my five-minute meeting with some Surry Hills casting director, whose first question would inevitably be ‘How’s your American accent?’ The zenith of my career was a thirty-second commercial for the orange-flavoured soft drink Mirinda, a merchandising tie-in with the release of Spider-Man 2, shot at Fox Studios on a full-sized replica of a New York subway carriage. On the soundstage next door, Baz Luhrmann was directing Nicole Kidman in their famously extravagant campaign for Chanel No. 5. There we all were: Australians in Australia, pretending to be Americans for America. Even at that early age, I sensed that Australian cinema existed in the long shadow of Hollywood, and that there has always been, as Sam Twyford-Moore expertly describes in his new book, ‘some kind of psychic gangway between Sydney and Los Angeles’. 

Herbariums are strange places. Part archive, part library, part museum collection, they hover in a space of plant, paper, print, and preservative. Time and space are pressed between pages representing far more than their often unprepossessing appearance suggests – complex interwoven stories of evolution, ecology, and scientific history. The herbarium is a compactus of shared and public scientific knowledge created by the collected efforts of men and women from diverse cultures, backgrounds and countries often unacknowledged and unknown, their identities subsumed to the multigenerational task of revealing the taxonomic architecture of plants, fungi, and algae.

In the months leading up to the 2022 federal election, as the two major parties duked it out over the cost of living, integrity, and the climate crisis, one issue barely rated a mention amid the barrage of leaders’ debates, press conferences, and doorstops: the Covid-19 pandemic. Having raged in Australia for more than two years, resulting in once-in-a-generation disruption to daily life, including the world’s longest lockdown, the virus had become all but untouchable on both sides of the political divide. Labor and the Coalition obviously reasoned that the best position on Covid electorally was not to have a position at all. Neither party articulated a strategy to manage the virus, or its ever-expanding roll-call of variants, into the future. For the most part, journalists – more interested it seemed in the then Opposition leader’s ‘gaffes’ – could not bring themselves to mention the C-word either.

Bomber Command operations cost about 3,500 Australian lives in World War II. This was more than five times the number of Australians who died in the Battle of Kokoda from July to November 1942. Yet the strategic bombing offensive over Germany has never held a comparable place in the national memory of war. 

When the Whitlam government was elected in 1972, women across Australia responded with elation. The Women’s Liberation Movement had helped bring Labor to power and was in turn galvanised by the programs, reforms, and appointments that began to be put in place. In Women and Whitlam: Revisiting the revolution, Michelle Arrow has assembled a splendid range of memoirs, reminiscences, and short essays that document twenty-five women’s perspectives on this much mythologised era. The collection will be of great interest to those who lived through these momentous times and to readers of Australian social and political history more generally. It will also serve as a useful teaching text.

'Bliss it was in that dawn to be alive, / But to be young was very heaven.’ William Wordsworth was writing about the French Revolution, but the sentiment could have applied to the three McDonagh sisters in 1920s Sydney. Isabel (born in 1899), Phyllis (1900), and Paulette (1901) were the beneficiaries of two intertwined revolutions – modernism and feminism – that encouraged them to develop skills outside the domestic sphere and to become experts in their field. Daringly, they chose filmmaking, the great obsession of the period; and they were very good at it.

I recently learned (was it from Martin Amis?) that ‘pulchritude’ is a synonym for ‘beauty’. How can such an ugly word be associated with beauty? I feel the same way about ‘Sydney’, named by Governor Phillip for the British Secretary of State who had suggested an Australian colony. An ugly word that is the name of a beautiful topography, a geologically complex and weathered arrangement of water and land, and more water and land, and a spread of fragmented populations that are in many cases discrete, so discrete that where a person lives and works in this city, defines and confines them. Infrastructure and transport must cope as best they can, and with as much money as government can muster.

What happens when you mix some of the biggest scientific breakthroughs of the twentieth century with the urgency of war? Wizards of Oz, a new book by lawyer and former politician Brett Mason, seeks to provide the answer. It is an account of a friendship between two Adelaide men and their extraordinary scientific achievements during World War II. 

There was a moment there, in the opening chapter of How to Rule Your Own Country: The weird and wonderful world of micronations, when I thought I was about to undertake an improving academic tour. The authors, Harry Hobbs and George Williams, are after all both legal academics. That first chapter has sections with earnest headings such as ‘What is a micronation?’ and ‘Why do people set up micronations?’. There are seemingly well-chosen quotations from experts, and a careful weighing up of definitions and opinions. 

One of the by-products of every election is the instant analysis, often in the form of small books that read like extended newspaper articles. The success of the teals at the 2022 federal election has already produced extensive speculation about whether this signals a sea change in Australian politics.