Review

Like many students of Australian film, I became aware of Cecil Holmes’s work through the viewing of a scratched print of Three in One in a lecture hall in one of our tertiary institutions, many years after it had failed to gain general release within Australia and killed off the dream of an indigenous film industry, yet again. A brave and naïve film, it was clearly well-made, stylish, and addressed a local audience without condescension or parochialism. Three in One was an early hint of what an Australian cinema might look like, and is now held to be one of the landmarks in the history of Australian film. To those who see the film now, though, its maker must seem to have suffered the same fate as its optimistically named production company, New Dawn Films. There is some satisfaction, then, in reading One Man’s Way to see what did happen to a substantial talent squandered by an insecure and conservative Australian film industry.

Virtually every book examining the whole or part of Australia’s postwar foreign policy has taken the American connection as its focal point. Camilleri, a prolific scholar and well-known commentator on international politics, however, shifts the emphasis and integrates some new dimensions. Instead of centring his study on the isolated aims of Australian policy-makers, he assesses the relationship within the framework of the major partner’s global strategy. The first critical factors to isolate are the changing needs and capabilities of the world’s leading capitalist nation; how have the Americans perceived their interests and responded in a dynamic global environment?

This book of a dozen essays, with a foreword by Sir Kenneth Weare (his last substantial piece of writing before he died), concentrates on various aspects of the changing Anglo-Australian relationship.

It is an enlightening collection, for most of the essays test and in some cases challenge the ‘conventional wisdom’ which pervades recent analyses of Australian life. This is especially useful to this reviewer who, as an immigrant of two years’ standing, discovered on arrival a veritable industry of writers in various disciplines all concerned with the search for an Australian identity. Two essays, for a start, provide the leaven in reassessment of George Johnston’s literary quest for ‘the way home’, as well as Donald Horne’s ‘Lucky Country’ theme and Alan Renouf’s ‘Frightened Country’ analysis. The first is interestingly dealt with by Alan Lawson in his ‘Acknowledging Colonialism: Revisions of the Australian Tradition’, which challenges several half-truths which have become maxims. Horne and Renouf immediately spring to mind in J.D.B. Miller’s ‘An Empire That Don’t Care What You Do’. This essay is a ‘must’ for those people who view most past (and some present) Australian leaders as supine in their dealings with British counterparts.

This volume is subtitled ‘A novel About The Nature of Truth’ and thus marks Frank Hardy’s continuing concern with basic concepts, the source matter of philosophical and theological debate, rather than with the social immediacies tat inspired and formed the texture of his earlier fiction. As with But the Dead are Many, his previous novel, a tour de force of considerable proportions in which Life and Death were set forth as interchangeable terms rather than irreconcilables, the present work is intricately structured in recognition of the complexity of the issues which is being debated, or, put otherwise, the evasiveness and obduracy of the daemon with which the writer-character is wrestling. There is certainly some sense in Hardy of being more than just interested in narrative formulae, modi operandi, recapitulative tactics. (Appropriately enough, since he writes of men in the grip of obsessions which gnaw at their intellectual vitals, and, as suggested, he stands on extraordinary intimate terms with them.)

What effect did life, does life still, exert upon Europeans in the Pacific? Does it weaken cultural bonds with Europe or does it sustain them? Does it set up alternative cultural standards by means of which European culture may be more critically assessed’) And individuals may more critically assess their own motivations? Are their lives fulfilled in the Pacific or does it destroy them’? These are among the questions which Gavan Daws has set himself, in this highly readable and elegantly written series of linked biographies of five men, Williams, Melville, Gibson, Stevenson, and Gauguin, whose fame and destiny were determined in whole or in part by their lives in the Pacific. Each of them found in the islands ‘the other side of his own civilised humanity’. The book, therefore, though it contains a great deal of factual information about the movements and lives of these men in the Pacific, is really about the romantic voyage, the voyage ‘into the self’.

Rae Desmond Jones has joined the growing band of poets now working in the more expansive medium of prose diction (thereby possibly expanding their readership as well). Others that come to mind are David Malouf, Roger McDonald, and Rodney Hall.

At just 74 pages, Rae Desmond Jones’s first story collection gives the impression of being a slim volume. The contents page lists only ten stories. Yet this impression is deceptive. There are actually twelve stories (inexplicably, two aren’t listed in the contents), and the usual typography concentrates the prose, emphasizing its density and the sense of menace underlying the narratives.

Science-fiction short stories traditionally made their first appearance in American and British pulp magazines. The best stories then appeared in anthologies. In recent years more stories have been published for the first time in all-new anthologies, skipping the preliminary magazine stage. This in turn has led to the growth of science fiction publication in those countries, such as Australia, which do not have sufficient population to support specialist science fiction magazines of their own. Other Worlds and Rooms of Paradise are each all-new anthologies of science fiction. Rooms of Paradise is the more polished collection. Six of its twelve stories are by established overseas writers – including stars like Brian Aldiss and R.A. Lafferty – and the other six are by Australians. The local product is not overshadowed in this company; I think that in general the Australian stories are as well written and more original.

I found this a book of uncertain trajectory. On the one hand its target seems to be a broad readership, for these forty-three short stories were first written for the periodical, Tabloid Story, whose method of distribution has been the effective one of being hosted by student and national journals of wide circulation. On the other hand, the collection includes a long self-conscious explanation of itself whose apparent interest in a secure perch on a tertiary syllabus would exclude the popular audience. In it the editor outlines why these stories represent a revolution in Australian short fiction, anatomises the causes and course of this upheaval, locates its European and Latin American antecedents, names its genres – in short tells why his authors should attract serious study rather than serious enjoyment. The ruse, of course, is to hallow an episode in Australian literature, a manoeuvre that I found as transparent as it is indicative of shaky confidence. A revolution with genuine roots will hallow itself.