Non Fiction

When Confucius was asked by his disciples how they should become wise, he would enjoin them to study the classics; over two millennia later and much closer to home, Winckelmann declared that it was only by imitating the supreme masterpieces of the Greeks that we too might one day become inimitable – putting his finger on the paradox that the greatest originality always has deep roots in the past.

This is a highly intelligent collection of essays by some of the nation’s finest minds about the ebb and flow of intellectual endeavour in the humanities since the institution of the Australian Academy of the Humanities in 1969. In the thirty-one essays – built around keynotes, panels, and responses – there are too many gems among them for me to be willing to pick out individual contributions for particular attention. If you care for the life of the mind and for our culture, download the e-book and peruse it, according to your interests. These are mainly stories of success, in transforming disciplines and the like. Less flatteringly, they are also a reminder that the humanities were more central in Australian universities back in 1969 than now.

From the earliest days of white settlement, Australians have made the voyage to Britain. Many stayed for long periods and some forever. Prominent among the more permanent residents were writers, prominent not only in terms of numbers but also because it was they who in large part created the stories and legends of Australians abroad. Some left without regret, lambasting their local world as ‘suburban’, hostile to originality and creativity. But Australian writers were not only denizens of a small, narrow society. They also lived in an English-speaking imperial world constructed in terms of metropolises and provinces. Thus Australian writers went to Britain in search of better opportunities for publication, wider markets for their wares, and to become part of a critical mass of writers, critics, intellectuals in a more complex, variegated society. When nationalist fervour was strong, local attitudes to expatriates could be ambivalent if not hostile. In 1967 Christina Stead was named by the Britannica Australia Award for Literature Committee as ‘the outstanding novelist of this day’ but was not given the prize because it was noted that she had not lived in Australia for forty years and that her contribution to literature had little reference to Australia.

Unlike Hawthorne: A Life (2003), Brenda Wineapple’s penetrating and engaging biography of Nathaniel Hawthorne, Hawthorne’s Habitations, is a work of literary criticism informed by a narrow but fascinating range of biographical details and sources. These details support Robert Milder’s construction of an author ‘divided’ by contradictory drives that remained unresolved in Hawthorne’s fiction and life.\

In The Resistance to Poetry (2004), James Longenbach claims that ‘Distrust of poetry (its potential for inconsequence, its pretensions to consequence) is the stuff of poetry.’ The Australian poet Laurie Duggan has based a career on a creative distrust of poetry, or at least a certain kind of attitude to ...

My mother-in-law often spoke fondly of the Blitz. I had visions of her as a plucky young woman cycling down the bombed streets of London, going to work as a secretary to the stars of show business, enjoying ridiculously cheap hotel meals, and in the evenings going out on the town with an exciting boyfriend – perhaps a Turkish admiral, perhaps the man she later married. It always sounded as if she was having the time of her life. I was puzzled by this, because I knew her parents had both been killed in a bombing raid, though she didn’t talk about that. Was she unconsciously putting a positive spin on a time that must have been distressing and terrifying?

In a world punctuated by civil and global conflict, it seems almost quaint to promote peace as a weapon of choice. Even in more progressive quarters, an explicit identification with pacifism seems to evoke nostalgia for a time when the enemy was obvious and the mission supposedly self-evident. But in recent decades the threat has become more nebulous, as has the relationship between defence, government, and the arms industry. Ideological differences, rather than territorial disputes, are much harder to resolve. A drone strike, regardless of its intended specificity, will always incur – to borrow from army parlance – a significant amount of ‘collateral damage’.

The title of Ray Monk’s biography of Robert Oppenheimer plays on several ‘centres’: the entrancing interior of the atom wherein physicists found the secrets of nuclear energy; the institutional centres of American intellectual life that served as Oppenheimer’s professional milieu; the seductive hubs of political power to which he felt a fatal attraction; his own inner life, full of strange shadows and paradoxes.

The cover of Shirley Hazzard’s The Great Fire shows a vast and terrible conflagration. Flames reach high into the sky, devouring the air and seeming to set the wide river alight. In the distance, an eerily familiar pair of ghostly towers rises above the smoke. In the foreground, tiny human figures move around as a boat sets off towards the fire, perhaps in some desperate attempt at rescue. The painting is The Burning of the Houses of Parliament by J.M.W. Turner. Shirley Hazzard chose this image herself for the cover of the novel, which won both the Miles Franklin and National Book Awards in 2003.

Like the best examples of true crime books, Every Parent’s Nightmare goes far beyond the tragedy at its centre and places it in its socio-economic context. Belinda Hawkins details how a death in Bulgaria back in 2007 became a highly politicised incident, and offers a convincing explanation as to why the trial was so sloppy and one-sided ...