Non Fiction

Despite the rhetoric of globalisation, it is impossible to buy an airline ticket online in the United States with a credit card issued abroad. When I needed a ticket from Boston to Washington last year, and after numerous unsuccessful arguments with airline websites and 1800 numbers, I dropped into the local Harvard travel agency. There was a welcome familiarity in discovering that it was a branch of STA, one of more than 400 branches operated around the world by the Australian-based company.

If this is love, then we are all in trouble. Addiction, infidelity, cruelty, violence, obsession, depression, repression, jealousy, impotence, the neglect of children and a whole lot of hysterical personal correspondence are features of the love affairs conducted by the eight writers who are the subject of this disconcerting book.

We use the term ‘The Dreaming’ to refer to an Aboriginal way of thinking about their place in the universe; it is ‘a cosmology, an ancestral order, and a mytho-ritual structure’, in the words of Canadian anthropologist Sylvie Poirier. The Western Desert people with whom she lived for many months in the 1980s and 1990s (the Kukatja – though she acknowledges the difficulties of such labels) call it tjukurrpa, a term whose meanings include ‘story’. The stories are about the world- and knowledge-creating ancestral creatures. In the Kukatja world, as manifested in the Western Australian communities of Wirramanu, Mulan and Yagga Yagga, the more prominent stories are about Luurn (kingfisher), Wati Kutjarra (two initiated men), Kanaputa (digging stick women), Marlu (kangaroo), Karnti (yam) and Warnayarra (rainbow snake). When Kukatja narrate the travels of these creatures, they select segments in the itinerary that account for the narrator him or herself as a person who belongs to the places named in the story.

Ross McMullin’s Will Dyson is a new edition of a book that first appeared twenty years ago. Over that time,  the author has promoted his subject, according to the book’s subtitle, from ‘Cartoonist, Etcher and Australia’s Finest War Artist’ to ‘Australia’s Radical Genius’. ‘Genius’ is a strong word, and the new edition does not make a case for its use any more than the old one did. But Dyson is certainly an important, often unregarded, figure in the history of political cartooning. The story of this talented, likeable, thoroughly political man is well worth knowing on many fronts: as a saga of early Melbourne working-class bohemian culture, as an example of the invigorating effect on English political cartooning by antipodean artists in the early part of the twentieth century (the career of David Low shadows that of Dyson), and as an account of the way that World War I registered on a sensitive, and responsible, Australian imagination.

Due to some clever product placement (James Bond and wife bashing) Diane Cilento’s Nine Lives have become public property, even before the reader picks up the book. We know it all: she is a member of a celebrated Australian family and made her reputation in some famous movies; she had three husbands, including two well-known ones; she set up a theatre commune in North Queensland. We even know from the gossip columns details that are not in the book: the farcical story of the last days of her third husband, the wonderful Tony Shaffer (worth a hundred Sean Connerys), his London mistress and the Shaffer inheritance. I flick through the book, notice the enthusiastic style, look at the not-quite-thrilling photographs, dip into the quite amusing anecdotes, and study the index in vain for the name Jo Jo Capece Minutolo, Tony’s mistress, whom everyone has been talking about. She has called the book ‘inappropriate’; Connery has called it ‘a crock of shit’.

On a cold, grey day in February this year, economist Larry H. Summers announced his resignation as president of Harvard. Though some undergraduates gathered in Harvard Yard to wave signs saying ‘Stay Summers Stay’, the rift with faculty and the governing board proved too much. Summers issued a dignified letter to the Harvard community, shook hands with well-wishers, and disappeared.

Early in his book, Rod Barton describes his reaction to two events that showed what kind of intelligence officer he would become. In the late 1970s he was asked by the Joint Intelligence Organisation to deter-mine the winners and losers in a nuclear exchange between the superpowers. But how, he asked, could this be done without taking into account environmental, political, medical and psychological factors? The other occasion was when Barton contradicted American military intelligence assertions that ‘yellow rain’ falling on Hmong tribesmen in Laos in the late 1970s was a Soviet-supplied chemical warfare agent. His own investigations showed it was bee droppings. Prime Minister Malcolm Fraser backed his findings despite pressure from US Secretary of State Alexander Haig to endorse the American version. Barton’s view prevailed.

There is a recuperative basis to Jane Lydon’s project that the measured tones of academic writing cannot disguise and that gives this book its energy. Lydon’s subject is the Coranderrk Aboriginal Station near Healesville, which was established in the 1860s in what Lydon describes as ‘consensual circumstances’. In the first decade of operation, the Aboriginal residents at Coranderrk achieved an un-characteristic and impressive degree of autonomy. Under the sympathetic management of John Green, there was, Lydon argues, ‘space for Aboriginal objectives and traditions to co-exist with newer practices’. As an early, initially successful expression of Aboriginal self-determination, Coranderrk has already attracted much scholarly attention, but Lydon takes a new tack, examining the extensive photographic archive created during the Station’s first forty years (it closed in 1924).