Literary Studies

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.

Continent of Mystery, subtitled ‘A thematic history of Australian crime fiction’ is, in the most simplistic terms, a daunting and inspiring book. My Australian crime fiction, mystery and detective fiction magazine, Mean Streets, was launched by Knight towards the end of 1990, not long before his move to the United Kingdom. For better or worse upon Knight’s departure I assumed, or at least so I was told, the mantle of Australia’s expert on crime fiction. I always perceived that observation as a compliment but having read Continent of Mystery with a sense of awe I can only say that I’m not sure I’m even fit to sit at Knight’s feet when it comes to local fiction with criminality at its core.

When the leukaemia with which he had been diagnosed in 1991 claimed his life twelve years later, Edward W. Said left behind more than the usual testaments to a successful academic career: landmark studies, bountiful citations, bereft colleagues, and the cadres of pupils whose intellectual maturation he had overseen. More importantly, he embodied a many-sided ideal of intellectual and civic engagement that combined the vita contemplativa with the vita activa. A professor in Columbia University’s Department of English and Comparative Literature for forty years, Said was a member of the exiled Palestinian National Council and arguably the most visible advocate for the Palestinian cause throughout his later life.

In my thirty years as an academic, the greatest joy and puzzlement I had was in teaching poetry. I agree with T.S. Eliot that ‘genuine poetry can communicate before it is understood’. Our best teaching often involves what we do not fully understand. The scholar D.S. Carne-Ross once argued that, upon hearing poetry spoken in an unfamiliar language, you can tell it is poetry, the language of poetry, which is other than what I do in writing this review. Anyone faced with the problem of teaching poetry in an academic setting will realise that part of the problem is the academic setting itself. Poetry has thrived for millennia everywhere on earth without the benefit of professors, classrooms, and theories of reading. How, then, might we teach it?

There is something quaint about seasons. They do not seem to trigger the same dread that we now experience when we hear the word ‘climate’. I think this is because seasons remain connected to that time in human history during which the annual variations of climatic conditions were evidence of an underlying stability in the world and of nature’s constancy. The Seasons, a collection of essays edited by Luke Fischer and David Macauley, is an attempt to think through the ongoing role that seasons have within human imaginaries. Both editors are philosophers and the book is mainly grounded in forms of analytic philosophy insofar as seasons (and seasonality) are posited as concepts susceptible to abstract contemplation. The approach is inflected by a certain eclecticism of thought and example, but there is also an underlying intellectual and tonal consistency. The prominence of Goethe, Hölderlin, Keats, and Thoreau within the book, for instance, firmly roots the contributions within the romantic imagination. Other key reference points in the book – Rilke, Heidegger, Merleau-Ponty, Rachel Carson – remain within the long shadow of European romanticism.