Non Fiction

When we look back at the major cultural achievements of the early twenty-first century, The Sopranos (1999–2004) will surely prowl, thuggish, at the top of the list. Created by David Chase, the HBO drama tells the story of Tony Soprano, a New Jersey mob boss who tries to balance the violent demands of his professional life with a more quotidian existence as a father and husband in the suburbs. Tony’s treatment for panic attacks by the psychiatrist Dr Jennifer Melfi is central to the six seasons. Self-described as a ‘fat fuckin crook from New Jersey’, Tony Soprano is more than that: a multi-layered, deeply flawed, always fascinating creature of millennial capitalist America.

Given the deluge of cookery books and unrelenting television programs, it is hard to imagine a time when there wasn’t a single Australian cookery book. This year marks the sesquicentenary of the first: The English and Australian Cookery Book, a volume published anonymously in London, and compiled by ‘An Australian Aristologist’, Edward Abbott. Abbott (1801–69) was born in Sydney and by 1818 was working in Hobart. He became a newspaper proprietor, establishing the Hobart Town Advertiser in 1839, and a member of the Tasmanian House of Assembly (1864–65) and the Legislative Council (1864–86). It was during his political career that he prepared and published this volume.

Guy Rundle ends his engrossing account of Clive Palmer with a disclaimer: ‘Knowing Clive, he will contradict everything asserted in this essay in the two weeks between its going to press and hitting the bookstands.’ Since the publication of this essay, Palmer has not contradicted the assertions of the essay, but his party has been challenged. Senator Jacqui Lambie has resigned from the Palmer United Party. At the November Victorian election, preference deals led to the election of micro parties to the Upper House, without a Palmer United Party member.

What’s on a judge’s mind? Litigants and advocates would love to know. Former judge Peter Heerey answers that question in his latest book, a compendium of writing over many years, covering a vast array of topics and in myriad forms.

Bettina Jordan-Barber will soon face trial for receiving around £100,000 over nine years from the Sun newspaper for supplying information while she was an official in the Ministry of Defence. Both the prosecution and the defence during the recent UK ‘phone hacking’ trial accepted that the payments had been made, and that Rebekah Brooks, while she was editor of the Sun from 2003 to 2006, authorised eleven of them totalling £38,000. According to Brooks, it never occurred to her that the person her reporter, who will also soon face trial, referred to in his emails as his ‘number one military contact’ and ‘ace military source’ might be someone in the military. The jury accepted this profession of ignorance, so Brooks was found not guilty of ‘conspiracy to commit misconduct in public office’.

In the interests of national security, my luggage was recently searched at Los Angeles airport. The culprit: Spy Catchers. The uncorrected proof copy was so bulky that it triggered an alert. I declined to tell the Customs and Border Protection officer (in no mood for irony) that one chapter in the offending item was entitled ‘Keeping out Undesirables’. David Horner’s first volume in the history of ASIO is a big book – big on detail, broad in scope, and, overall, impressive in achievement.

We do nothing alone,’ writes Alex Miller, in his brief memoir ‘The Mask of Fiction’, where he gives an account of the generative processes of his writing. Art, according to Miller, comes from the capacity of the writer to ‘see ourselves as the other’. Early in his career, Miller’s friend Max Blatt woke him, in his farmhouse at Araluen, in order to dismiss the weighty and unsuccessful manuscript that Miller had given him to read. Blatt’s urgent and unsociable rejection of the manuscript may have saved Miller’s work, establishing a new emotional basis for his writing. ‘Why don’t you write about something you love?’ Blatt asked. That night, Blatt told Miller a true story of personal survival and Miller began to write afresh. In the morning, Blatt accepted Miller’s version of the story he had told with the words: ‘You could have been there.’

Much like her government, Julia Gillard’s memoir resembles the proverbial curate’s egg. Where her passions are involved, as with education (‘Our Children’) or the fair work laws, we are provided with a compelling policy read. Where they are not, as in large slabs of foreign policy, the insightful competes with the pedestrian, enlivened admittedly with her personal talents in handling the great and the good – handballing a football with Barack Obama in the Oval Office, for instance. A chapter on ‘Our Queen’ and the republic is rather jejune, though Gillard has a nice line on changes in the royal succession as providing ‘equal rights for sheilas’. The fact that ‘every prediction the departments of Treasury and Finance ever made about government revenue turned out to be wrong’ makes for dispiriting reading on fiscal matters.

For a man who has repeatedly been described as America’s greatest playwright, Tennessee Williams’s reputation has fluctuated as wildly as his notorious mood swings. In the decade after the war he was celebrated. ‘Mr. Williams is the man of our time who comes closest to hurling the actual blood and bone of life onto the stage,’ wrote Walter Kerr of the first production of Cat on a Hot Tin Roof (1955). By the time of its 1974 revival, Stanley Kauffmann spoke for most of his colleagues when he said, ‘A Streetcar Named Desire is truly an American tragedy and The Glass Menagerie stands, even if a bit unsteadily, as one of the few successful poems in our theatre’, and then implied that everything else in the master’s output was downhill. The gleefully savage venom with which the critics greeted his later plays takes the breath away. Of The Milk Train Doesn’t Stop Here Anymore (1963), Richard Gilman wrote: ‘Why, rather than be banal and hysterical and absurd, doesn’t he keep quiet? Why doesn’t he simply stop writing, stay absolutely unproductive for a long time in Key West or the South of Spain?’ Reviewing Clothes for a Summer Hotel (1980), Robert Brustein suggested that he should book ‘a flight to Three Mile Island on a one way ticket’. The tall poppy syndrome is not merely endemic to Australia.

Hannah Forsyth, a lecturer in history at the Australian Catholic University in Sydney, begins her first chapter with the words: ‘In 1857 all of the Arts students at the University of Sydney could fit into a single photograph.’ Some neo-liberal critics of universities would argue that it has been downhill ever since. By World War II, Forsyth estimates that there were still only about 10,000 university students in Australia. Forsyth succinctly highlights the historical changes from a small élite higher education system, dominated by white male ‘god’ professors, to the current complex system, where more than one million students face major changes in higher education funding and settings.