History

In Telling Tennant’s Story, Dean Ashenden gives a lucid, succinct, eminently readable account of the reasons why Australia as a nation continues to struggle with how to acknowledge and move beyond its past. Travelling north to visit Tennant Creek for the first time since leaving it as a boy in 1955, Ashenden is provoked to question the absence of shared histories on the monuments and tourist information boards along the route. Mostly, the signs record pioneer history, from which the Indigenous people are absent. When the Indigenous story is invoked, it records traditional practices and does not mention white people. ‘How did they get from then to now?’ he muses. ‘Just don’t mention the war.’

Stuart Macintyre was in a league of his own as a historian of communism. That’s not just a comment on his status as a historian of the Communist Party of Australia, whose first volume, The Reds (1999), took the party from its origins in 1920 to brief illegality at the beginning of World War II, and whose second, The Party, covering the period from the 1940s to the end of the 1960s, now appears posthumously. It applies equally to his stature in the international field of the history of communism. There are plenty of Cold War histories of the communist movement, written from outside in severely judgemental mode. There are also laudatory histories, written from within. But when The Reds appeared, it was, to my knowledge, the first history of a communist party anywhere that succeeded in normalising it as a historical topic, that is, writing neither in a spirit of accusation or exculpation but with critical detachment and scrupulous regard for evidence and its contradictions.

The books we read and collect can provide telling insight into our lives. Indeed, bookshelves often draw the immediate attention of our guests, who seek to discern clues about us from the titles that we have accumulated. With Stalin’s Library: A dictator and his books, Geoffrey Roberts takes on the role of a curious visitor perusing the impressive library of Joseph Stalin (1878–1953), who, as head of the Soviet Union, amassed a collection of some 25,000 items. Conceptualised as a biography and intellectual portrait, Stalin’s Library joins a crowded field of works aimed at cracking the Stalin enigma. Setting this latest biography apart is its focus on Stalin’s personal library as a basis for constructing a ‘picture of the reading life of the twentieth century’s most self-consciously intellectual dictator’.

Australia’s Vietnam War has passed through several phases in the last six decades. In the mid-1960s the commitment of combat forces by the Menzies and Holt governments was strongly supported. The war and the associated conscription scheme became the focus of enormous controversy in the late 1960s and early 1970s, contributing to Labor’s electoral success in 1972. Gough Whitlam did not pull out the troops – that had already been done by his predecessor, William McMahon – but he did recognise the communist government in the north, even before the war was over.

As I started to read this book, right-wing extremists stormed the US Congress, spurred on by a president who was unable to accept defeat at the ballot box. It has long been recognised that Donald Trump is a narcissist, but, as Ute Frevert aptly points out in The Politics of Humiliation, narcissism and shame are closely related. Trump feels humiliated by his defeat and is therefore psychologically incapable of accepting his loss, on any level. But there is another side to Trump’s behaviour: he has been quite ‘shameless’ in the way he bends truth and humiliates other political leaders.

Andrea Brady’s monumental study of poetry and constraint focuses on ‘the ways that poets invoke bondage as metaphor while effacing the actuality of bondage’. Milton’s aspiration to deliver poetry from ‘the modern bondage of rhyming’, and Blake’s injunction that ‘poetry fetter’d, fetters the human race’, associate formal freedoms with political liberation. The modernist discovery of free verse was quickly followed by a formalist reaction in the 1940s, which was in turn displaced by renewed experimentation over the following decades.

The basic facts of William Shakespeare’s life – his baptism, early marriage, three children, shareholder status in his playing company, acquisition of a coat of arms, purchase of New Place in Stratford, and his death in 1616 – are well known. Is there anything new to say?

The Western, colonial, patriarchal hegemony having eroded somewhat in recent years, the purposes and methods of art and of museum management and curatorship are undergoing fundamental change. Formerly unchallenged Anglophone-transatlantic canons and practices have been undermined by broader international perspectives, by the impact of digital technologies, and by the politics of identity – in ethnicity and nation, gender and sexuality.

The Bible is a collection of books with a long history. Not surprisingly, there is little agreement as to precisely which books it contains and what their collective importance might be. In The Making of the Bible, a distinguished Old Testament scholar, Konrad Schmid, and an equally prominent New Testament specialist, Jens Schröter, have combined forces to produce a volume (elegantly translated from the German by Peter Lewis) that outlines how different forms of the Bible came into being. Their focus is historical and philological rather than theological or literary. Yet the story they tell is engrossing: that of an unstable world needing to attend to the values of God’s kingdom. They help a non-specialist reader appreciate the fascinating diversity of ways in which the Bible’s message was regularly reinterpreted in a changing political situation.

Drew Rooke begins A Witness of Fact in the viewing gallery of Adelaide’s Forensic Science Centre, his eyes scanning the stainless steel benchtops, scissors, ladles, a pair of ‘large, heavy-duty shears used for cutting through ribs’, and an arsenal of knives of different styles and sizes – ‘what you would see in a commercial kitchen’. The atmosphere is cool, sterile, and menacing. This is where disgraced forensic pathologist Colin Manock worked for thirty years. Given that this book is about Manock, the opening could be confused with scene-setting. But there is a deeper significance to the author’s choice of words, one that goes to the heart of his book: what transforms knives in a commercial kitchen into specialist tools of medical forensics?