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ABR Arts

Theatre

Gaslight 

Rodney Rigby for Newtheatricals in association with Queensland Theatre

Book of the Week

Ghosts of Paradise
Poetry

Ghosts of Paradise by Stephen Edgar

With a title like Ghosts of Paradise, it is no surprise that Stephen Edgar’s latest poetry collection is haunted by loss, mutability, and mortality – the great traditional themes of elegiac poetry. But Edgar’s poetry has long, if not always, been characteristically elegiac. In this new collection, Edgar’s first since winning the Prime Minister’s Award for poetry in 2021 (and his first for Pitt Street Poetry), the poems are haunted by the poet’s late parents, late fellow poets (especially W.B. Yeats, but also the Australian poet Robert Adamson, for whom there is an elegy), and ancient poetic forms, such as the sonnet. The collection also includes meditations on ageing, corpses, and photographs (including Roland Barthes’ ‘theory / That every photo is a memento mori’). An interest in the intertwining of memory, embodiment, and visual representation is powerfully realised in ‘Still Life’, in which the memory of a trip to Broken Hill is

Interview

Interview

Interview

From the Archive

April 2006, no. 280

The Park Bench by Henry von Doussa

To prove the fairyness of tales, this world’s relationships start at ‘Happily’ and only then progress to their trials. The Park Bench tells what happens when hope of the ‘ever after’ fades into that space bordered by numb disappointment and the aggressive need to regain sensation. In gay fiction, that place is no man’s land.

From the Archive

October 2009, no. 315

The Water Dreamers: The remarkable history of our dry continent by Michael Cathcart

A few years ago, I heard Michael Cathcart speak on ‘the myth of the inland sea’. It was one of the funniest takes on Australian history I have heard. He related how his initially confident search for statements of belief in an inland sea by early Australian colonists petered out in the face of lack of evidence. Certainly, the explorer Charles Sturt believed in an inland sea and in his divine mission to discover it, but by 1845 he knew better. Finding little other evidence of the inland sea as the impetus for exploration, Cathcart decided it must be a creation of historians from Ernest Giles in 1889 to Derek Parker in 2007, with the idea recycled uncritically from book to book. Cathcart intended his research to be an academic thesis in history. How hard it must have been to be his academic supervisor. Each session must have ended in laughter and a mounting sense of desperation. How could an increasing lack of evidence be turned to good thesis account?

From the Archive

December 2006–January 2007, no. 287

The odd couple

Don’t be fooled by this book’s splendid appearance; it’s not to be left on the coffee table. It is an excellent compendium of cultural, political and social history, complementing Philip Drew’s The Masterpiece (2001) and Françoise Fromonot’s superb study, Joern Utzon et l’Opéra de Sydney (1998).  It also establishes Anne Watson as a distinguished historian, both in her own contributions and in her orchestration of others. She has understood that there can be many sides to such a story; the way politics and culture have been entangled in this building’s history gives rise to questions worth unpacking indefinitely.