Australian History

Witnesses to War, an ambitious book, is part of a larger project by the C.E.W. Bean Foundation to commemorate the work of Australian war correspondents. Fay Anderson and Richard Trembath, setting out to document the performance of Australian war correspondents, have tackled complex material. They deal with an enormous cast of characters and various interwoven themes, including the struggle against military censorship, how journalists have observed their duty to neutral coverage (or not), and the changing technology of reporting war – from sending stories by carrier pigeon or steamship in World War I to today’s live telecasts by journalists direct from battlefields in Iraq and Afghanistan. The book fills an important gap. Until now, Phillip Knightley’s more general work, The First Casualty: The War Correspondent as Hero and Myth-Maker (1975, 2004), has served as the final authority in this field. Knightley is a patron of the Foundation and an important influence.

On YouTube, the guerrilla fighter Nino Konis Santana is presented Che Guevara style, in fatigues with beret and rifle, against the East Timorese flag. Villagers sing his praises in the local dialect of Lospalos, his remote birthplace. Santana, both a national and a folk hero, holds a revered place in a country which desperately needs unifying symbols. He became the rebels’ operational commander in 1993 after Xanana Gusmão and his deputy were captured, and when Santana died in the mountains in 1998 at the age of thirty-nine, José Ramos-Horta, the rebellion’s voice in exile, declared his death ‘a tragic loss for the People of East Timor’. This was the man journalist Jill Jolliffe set out to find, some four years before his death.

During the lead-up to the last United States presidential election, I found myself waiting for a train at the Princeton railway station with nothing to read. I picked up a copy of the student newspaper. Much of it was standard Bush bashing, intermingled with unrealistic expectations of what Obama might achieve. But one sentence in an editorial caught my eye: ‘It is time to end amateur hour at the White House.’ One of the great failings of George W. Bush’s presidency was the neglect of expert advice on the complex issues that faced America during his two terms. Ideology, prejudice and vested interests trumped properly informed judgements based on good research.

Unsurprisingly, Australia leads the world in the production of close-grained studies of convicts sentenced to transportation. Since 1788, it’s what we do. Emma Christopher proves herself to be a crackerjack at tracking down just about anyone who ever stood before an eighteenth-century court. She reels off their crimes, social origins, associates, aliases, lovers, victims, favourite haunts and previous convictions like a bailiff of long experience. What is more, she appears to possess an encyclopedic knowledge of the alleys, lanes and bolt-holes of every city in the British Isles. So stupendous is her talent for conjuring up the atmosphere of the times that most readers will forgive her for too frequently slip ping into the archaic language of the documents she studies.

On the shelves of Australia’s bookshops colonial history follows military history in popularity, though a distant second. While, say, Allen & Unwin has made brave efforts with a succession of books about the convict period – Hamish Maxwell-Stewart’s Closing Hell’s Gates (2008), Babette Smith’s Australia’s Birthstain (2008) or Grace Karskens’s The Colony (2009) – not one (not even Thomas Keneally with his Australians: Origins to Eureka, 2009) has sold as well as Robert Hughes’s The Fatal Shore (1987). Hughes spoiled the Bicentennial celebrations for a generation of scholars, piqued at such a sensational popular book, one that outsold their academic books combined.

John Hirst is a distinctive figure in Australian intellectual life. As an academic, he has had a distinguished career at La Trobe University in teaching, supervision, and research. He developed new subjects and methodologies with which to teach them. In addition to those concerning Australian history, there was his pioneering subject designed to inform students about Australia’s European cultural heritage, with some of the lectures recently published as The Shortest History of Europe (2009).

In their recent polemic What’s Wrong With Anzac? (2010), Marilyn Lake and Henry Reynolds lament the militarisation of Australian history epitomised by the profusion of memoirs and military history in bookshops. The authors make a fair point that war history and commemoration has drowned out other notable achievements and failings in our country’s past. But their broad brush sweeps away an important Australian tradition of critical reflection about war and society. If historians ignored Australians at war – as most did until the 1970s – there would be much more wrong with Anzac. Anzac Legacies, edited by Martin Crotty and Marina Larsson, is a compelling and insightful collection of carefully researched essays about the impact of war upon Australians and Australian society. It is a timely reminder that historians need to stay in the Anzac game, and can take it in challenging directions.

Witnesses as diverse as Plato in the Republic, James Joyce in Ulysses and Lewis Mumford in The City in History have testified that ultimately, in some metaphorical if not metaphysical sense, the City is, above all else, an expression of love. Terry Irving and Rowan Cahill, luminaries of the New Left in the 1960s and 1970s, currently associated with the University of Wollongong, are assuredly in love with Radical Sydney, a city which may or may not be with us still. There is, however, a whiff of Yeats’s ‘Romantic Ireland’s dead and gone, it’s with O’Leary in the grave’, as there is of Beckett’s borrowing from the French: ‘The only true Paradises are lost Paradises’. Yet Irving and Cahill are anything but Romantics. Radical Realists, rather. They are not afraid to quote those who disagree with them: for example, the head of the Australian Bureau of Crime Intelligence who described the Sydney of the 1950s as ‘a stinking city, one of the most corrupt in the world’. Indeed, as the soundtrack of Underbelly insists: ‘It’s a jungle out there.’

In Under the Influence, Ross Fitzgerald and Trevor L. Jordan look at Australian history and contemporary life through the lens of alcohol use in the community. ‘How a community or nation handles alcohol may be a strong indicator of its collective character’, they suggest. While seeking evidence for this, they throw up some fascinating material.