Memoir

For some long-forgotten and surely misplaced medical reason, I was forced as a child to take spoonfuls of vile white poison called Hypol. It may have had some sinister connection with cod-liver oil – I no longer know or care. I mention this arcane information because Robert Macklin’s memoir War Babies, is the first example know to me of Hypol’s appearance in a literary work. I don’t recall anyone else mentioning ‘the Rawleigh’s man’ from whom my mother, not liking to send this hawker away without a sale of any kind, would buy jelly crystals.

Bring back Carmen. Bring back Cheryl. Bring back Natasha. I would even have accepted a bit of Bronwyn as a relief from the relentless maleness of this year’s federal election campaign. The female politicians who were household names less than a decade ago – Carmen Lawrence, Cheryl Kemot, Natasha Stott Despoja, Bronwyn Bishop and Pauline Hanson – have been disgraced, marginalised or relegated to the backbenches. Replacements do not appear to be imminent, in part because the still-pitiful number of female parliamentarians are rarely allowed to shine. In the campaign, for instance, talented female politicians such as Julia Gillard were kept tucked away, despite the fact that what might be called women’s issues – especially childbearing and rearing – were central to the platforms of both major parties.

With biography and memoir, it seems that readers are buying a certain kind of truth –call it authenticity, the authority of fact. Yet all reading is escapism, even when we are escaping to what we consider true; even in non-fiction, we seek some of fiction’s satisfactions. This is the challenge: to find a theme and structure that will shape the story without sacrificing a sense of intransigent reality.

People often assume that actors and performers are extroverts, and that their work is a natural extension of an outgoing personality. But while, indeed, there are quite a few extroverts in the business, many who work in the performing arts are more likely to be introverts, for whom communicating with an audience is a form of expression that gives meaning to their lives.

‘Wildflowering’, a term coined by Judith Wright, describes the activity of searching for wildflowers in the bush. In letters between the poet and her friend, wildflower artist, writer and activist Kathleen McArthur (1915-2001), ‘the language of flowers’ becomes part of the mutual exchange of their friendship and epitomises the interactive and intimate relationship they maintained with landscape. Over the years, these women took the knowledge and love of their places into political campaigns to preserve the fragile ecology of an ancient coastland against the ravages of development and commercial exploitation.

What the hell is Bob Ellis? Discuss. Ellis might put it like this himself. Chances are he’s asked the question of a street window once or twice in wonderment and mock self-mockery. He’s earned it. From the back-cover blurbs down the years, one has got, by way of label, ‘l’enfant terrible of Australian culture’ (The Inessential Ellis, 1992), ‘a kind of dusty national icon’ (Goodbye Babylon, 2002) and now, in a disappointing regression to understatement, ‘a political backroomer’. We can assume, I think, that these are self-descriptions. Another, from the text of Goodbye Babylon, puts it this way:

Michael McGirr has an eye for coincidence. ‘The first bypass,’ he notes, ‘was performed on the Hume [Highway] in 1967, the year the world’s first coronary bypass was successfully performed in Cleveland. Though he does not press the point, the comparison is more than a mere curiosity. The conversion of highway to freeway - the steady accumulation of bypasses over the last forty years that has produced by accretion what is now a straight and soulless run between capitals - has also had the effect of preserving and even revitalising the towns along the way. These towns, no longer on the main drag, have to varying degrees weathered the impact of the surgery, recovering iden­tities that had once been obscured by the clogged-up road that ran right through the middle.

Here are two engaging books that trade on the romance and exoticism of northern Australia. Neither makes much demand on the reader nor offers profound insights, but both in their different ways abound in atmosphere and a genuine ‘feel for place’.

Rosemary Hemphill’s childhood was one of extreme contrasts. Her father, the product of Jewish Orthodox parents and Sydney Grammar, washed up in Broome with the dream of becoming the master of a pearling fleet. As so many do, he fell in love with the place and stayed until forced out by the fall of the pearling industry. He served in World War I and, while recuperating from wounds in England, fell in love with the beautiful and cultured daughter of a conventional upper-middle-class couple. The English in-laws insisted that he convert in order to marry their daughter. Back in Sydney, his father declared ‘my son is dead’, as is the custom of Orthodox Jews whose progeny ‘marry out’, and forced the rest of the family to cut ties as well. Louis Goldstein, now Louis Goldie, returned to Broome with his wife and pursued the half-glamorous, half-arduous life of the ‘master pearler’. The life was harder on the women, who were forced to battle the extreme physical conditions, isolation and monotony.

The Lu Rees Archives of Australian Children’s literature is a collection of children’s books and manuscripts whose stated purpose is to ‘provide resources for the study and research of Australian authors and illustrators, including both the literature and the historical and cultural context in which it was created’. Officially owned by the Children’s Book Council of Australia, and housed in the University of Canberra’s library, the collection of about fourteen thousand items provides a ‘particularly rich and comprehensive overview of Australian children’s literature, its creation and publishing endeavour’. Lu Rees, a foundation member of CBCA, started the collection with her own substantial holdings, and the collection encourages donations. Walter McVitty has made a gift of more than 3000 books and the entire archive of his publishing company, Walter McVitty Books, which existed from 1985 to 1997. In order to aid future researchers who might find the vast array of material in that archive bewildering, McVitty wrote explanatory notes of about twenty thousand words. He has expanded these into this book, which Lothian (the company that bought his imprint) has published.