Review

In his amusing essay, ‘The More Things Change’, John Birmingham writes:

Sydney will always confound, infuriate, engage and seduce. It is a provider/destroyer, madonna/whore and prophet of the main chance. It is hated, feted, loved and envied. It cares not. Self-obsessed and cosmopolitan, tacky, shallow and deeply serious, it knows its own worth and vainly overstates it at every turn – as when one speaker at the last (sic) Premier’s litfest dinner favourably compared the old tart with the Florence of Michelangelo. The gasps at the dinner tables were probably in surprise that anyone could think to bracket Sydney with such a provincial backwater.

While, I hope, ironic, this observation could be said to be indicative of the attitude behind many of the individual chapters in this anthology.

The book, as its editors inform us in their introduction, has grown out of a series of ‘Debating the City’ conferences held at the Museum of Sydney in 1999 and 2000. They, and the Director of the Historic Houses Trust, Peter Watts, in his foreword, are at pains to stress that this book is about cities, ‘the liveability of the modern city’ and ‘the city as an interdisciplinary subject’. However, while the conferences may have been about cities, the overwhelming number of papers selected for publication in the book take Sydney as their almost exclusive subject. In fact, eleven of the eighteen chapters are specifically about aspects of Sydney’s urban development or the experience of living in Sydney. Perhaps John Birmingham got it right.

The title of this book suggests that it will be less concerned with industrial aspects of Australian cinema than with ideological, but, as if this might limit its scope and resonance, Peter Malone’s subtitle suggests that other lines of inquiry and response might be accommodated as well. This proves to be the case.

It wasn’t long before myths and legends grew up around the story of St Francis of Assisi. James Cowan is right to suggest that this process began before Francis died and that Francis himself allowed or willed it to happen. He may even have encouraged it: ‘Francis endeavoured to make a metaphor out of his own life.’

I remember reading a book entitled Deeds That Won the Empire at primary school. Mainly, it seemed to be about the slaughter of various groups of native races by the superior technology and organisation of the West, always personified by focusing on an intrepid leader called Carstairs or Hethington-Bloggs, or some such name. Even in the 1950s, the book had a desperately old-fashioned feel to it. This type of writing, one felt, could not last.

Five of Laurie Moore’s ancestors were in the party that finally captured Jimmy Governor in October 1900, ninety-nine days after his murderous onslaught on the Mawbey family. He and his wife have assiduously traversed the terrain of the manhunt for Jimmy and his brother Joe. Moore’s book, The True Life of Jimmy Governor, written in conjunction with Stephan Williams, is an admirable amateur labour: loving, painstaking, yet never without a tinge of irony about fashions of remembering folk anti-heroes in Australia. As the authors remark near the end of their story: ‘the brothers held up, or were fed by, everyone’s great aunt or grandfather’.

The huge changes that have occurred in Australia in the space of a century were reflected in the recent centenary of Federation celebrations in Melbourne. They were evident, for example, in the repeated acknowledgment of Aboriginal Australians and in the selection of a young female Asian-Australian to speak on behalf of the future.

Wifework is a good term for the things that women have been doing in Western marriages for centuries. It evokes all those other phrases coined in the 1970s and 1980s by feminists that resonate in the consciousness of modern women (including many of those who preface any discussion of family life with the mantra ‘I’m not a feminist’). Wifework embraces the sacrifice of ‘the burnt chop syndrome’, the exhaustion of the ‘the double shift’ and the psychological burden of ‘emotional labour’. The title of this new book raises hopes for a spirited discussion examining and updating earlier complaints, showing how things have changed and suggesting what needs to be done about marriages in the new century. As a been-there-done-that reader (married in the 1970s and feeling guilty about letting down feminism by doing so, divorced in the 1980s and feeling guilty about that, cohabiting and parenting in the 1990s), I was interested at once.

Leonardo Da Vinci, Elvis Presley, the Tarot, unsettled weather, love, ducks and a megasupermarket: they’re not subjects that one would often be moved to mention in the same breath, but it is on just this unlikely affiliation that Julie Capaldo’s cunningly plotted second novel is based.

‘A king had a beautiful daughter,’ begins David Foster’s new book: 204 pages between grey boards, a reproduction of Filippo Lippi’s Madonna con Bambino e due angeli on the covers, the author’s name itself visible only on the acknowledgements page, in rather small writing.