Literary Studies

The 2021 centenary of Raymond Williams’s birth was a moment of acknowledgment but also involved some assessment and testing of his ongoing relevance. Williams seemed to live many lives: son of a railway worker in rural Wales, Communist Party member, wartime tank commander, tutor in the Workers’ Educational Association, novelist, author of key texts within cultural and media studies, professor of drama at Cambridge University, founding figure of the British New Left, television reviewer and commentator, socialist activist and Welsh nationalist, cultural and Marxist theorist.

There really isn’t another biographer like Joseph Frank – nor a biography to place beside his 2,400-page, five-volume life (1976–2002) of Fyodor Dostoevsky, the wildest and most contradictory of the great nineteenth-century Russian novelists. Frank set out in the late 1970s – a time when historically grounded literary scholarship was losing favour in the academy – to fix Dostoevsky (1821–81) in the complex matrices of Russian history, politics, religion, and culture. An author who had been read in the English-speaking world as a hallucinatory thinker, somewhat detached from reality, could now be seen as one fully imbricated in his era and milieu.

In late March 1941, more than six months into the relentless German aerial campaign that was then destroying great swaths of London’s fabric and spirit, Virginia Woolf filled the pockets of her heavy overcoat with stones and waded into the River Ouse. Her suicide occurs halfway through Will Loxley’s scattergun study of English writers and writing during the war, though its inevitability haunts the first half of the book, as claustrophobic as the pea-soupers that had defined London’s self-image in the centuries before the Blitz took on that singular responsibility.

The life of Charles Lamb reads like a tale by Charles Dickens. In 1775, a sweet-natured boy is born in the Inns of Court, the ancient legal district in the city of London. The boy’s father, John Lamb, works as clerk, scribe, and all-round dogsbody for an imbecilic barrister called Samuel Salt – the names themselves are Dickensian – who does nothing without first consulting his servant. Charles, the youngest child by eleven years, grows up amid the great halls, libraries, chapels, staircases, sundials, fountains, and hidden orchards of the Inner Temple; his early youth is an Eden, but there is a serpent in the garden, because madness runs in the Lamb family.

This collection of Peter Ryan’s writings, Lines of Fire, is no grab-bag of oddments. The pieces included here are given an impressive unity by the author’s imposition of his presence, by his trenchancy, elegance of expression, a desire to honour the men and women of his younger days and to excoriate a present Australia in which too many people wallow in ‘an unwholesome masochistic guilt’. The finely designed cover shows a wry, ageing, wrinkled Ryan smiling benignly over his own shoulder, or rather that of his younger self, in uniform, in late teenage, during the Second World War. What happened in between is richly revealed in the elements of Lines of Fire.

Patrick White’s plays are conventionally assigned a marginal place in the landscape of his writing. Historically, they have either been regarded as poetic but unconvincing extensions of the performative dimensions of his prose, or as fundamentally misconceived exercises in contempt. Tim Winton spoke for the latter camp when, writing in the London Review of Books (22 June 1995), he dismissed White’s dramatic work as a ‘long and wasteful engagement with the theatre and its poisonous hangers-on’. Winton’s judgement is informed by a solitary model of authorship that can be applied to the rural metaphysics of White’s Castle Hill novels but that is increasingly inapplicable to the urbane satires his work became following his move to inner-Sydney in 1964.

Censorship is to culture what war is to demography: it creates absence where presence should be. Christopher Hilliard’s fascinating and deeply informed monograph on the politics of censorship in Britain (and by extension its colonies) from the 1850s to the 1980s is concerned with the many books, magazines, and films that fell afoul of the authorities, from translations of Zola in the wake of the Obscene Publications Act 1857 to the skin mags of the 1970s.

How would we have viewed the seven hundredth anniversary of Dante Alighieri’s death if there had been no Covid-19? The editors of Divining Dante are candid about their fears that the pandemic might narrow their celebratory anthology to poems of doom and disaster. After all, the cosmic system of Dante’s Comedy is one of the few fictional creations to match the scale and reach of the pandemic. Dante’s souls are aware of their insignificance among millions, but their pain or bliss is unique and absolutely meaningful. Punishments or blessings are matched to their deeds; character is fate. Today we, too, are confined to private places and must face whatever we find there. The times suit that side of Dante.

No contemporary Australian writer has higher claims to immortality than Gerald Murnane and none exhibits narrower tonal range. It’s a long time since we encountered the boy with his marbles and his liturgical colours in some Bendigo of the mind’s dreaming in Tamarisk Row (1974). There was the girl who was the embodiment of dreaming in A Lifetime on Clouds (1976). After The Plains (1982) came the high, classic Murnane with his endless talk of landscapes and women and grasslands, like a private language of longing and sorrow and contemplation.