Robert Adamson has as secure a reputation as any poet in this country apart from Les Murray. He rose to prominence in the latter part of the 1960s at the same time as John Tranter, but his affinity was not with the New York poets like John Ashbery and Frank O’Hara, but with the poets of Black Mountain: Charles Olson, Gary Snyder, and, most particularly, with the late Robert Duncan.... (read more)
Manning Clark will be remembered as a historian long after the last jot and tittle of the facts he amassed have been disputed and every revisionism has had its day, proving for those with the needful faith that he made it all up, that he was a waffler, that the diorama he presented as the history of Australia was nothing but an allegory of the inside of his head, and that it was all vanity and a striving after wind.... (read more)
Helen Daniel, the editor of Australian Book Review since 1995, died suddenly on Monday, 16 October 2000. Her death has sent waves of shock and sorrow throughout the Australian literary world. According to Andrew Riemer, at the Writers’ Week in Brisbane, held on the weekend after Helen’s death, session after session paid homage to this woman who, without vanity or arrogation, had made her name synonymous with the profession and apprehension of Australian literature.
Her death diminishes all of us. It’s strange to reflect that Helen, who occupied her position so quietly (at times so stoically) was in fact far and away the greatest champion for Australian writing in her generation and that her time as a critic and editor coincided with the great efflorescence of Australian publishing that we now wonder at and ponder.... (read more)
It’s a Proustian title, or at any rate a Powellian one, that Bernard Smith has produced for this memoir of his life in the long-ago 1940s, and, yes, there on the cover is Anthony Powell’s hero, Poussin. That’s doubly appropriate because one of the more vivid figures (though also one of the more saturnine ones) in this remembrance of things past is Anthony Blunt, great scholar of Poussin’s work, master spy, eminent director of the Courtauld and critical educator of the Young Bernard.... (read more)
In the last however many years, we have seen the rise of a kind of faction in this country which has enabled people like Drusilla Modjeska and Brian Matthews to show what scintillation and what fireworks may follow when the life of the mind (with whatever attendant discursive zigzagging) allows itself to imagine a world ...... (read more)
Murray Bail has passed muster as an important Australian novelist for quite a while now. His 1980 novel Homesickness, with its sustained parodic conceit of Australian tourists forever entering the prefab theme park, rather than its ‘real’ original, was an early national venture into what might have been postmodernism. Holden's Performance, a good time later ...... (read more)
Julius Caesar, first performed in 1599, dates from the period when Shakespeare was leading up to Hamlet, and its central figure Brutus, the conscientious assassin, is a bit of a rough draft for the introspective side of the Prince of Denmark, whereas Richard II, four years earlier ...... (read more)
Originally published in German, Albrecht Dümling’s The Vanished Musicians: Jewish refugees in Australia (Peter Lang), a fascinating compendium of Jewish musicians who found refuge in Australia in the 1930s and 1940s, is now available in Australian Diana K. Weekes’s excellent translation ...... (read more)
Everybody thinks they know about Tim Winton: the working-class hero from the West; the whale of a man who’s been writing since he was a boy; the master of one of ...... (read more)
Mario Vargas Llosa is one of the marvels of contemporary fiction. The Peruvian Nobel Prize winner not only bestrides it like a colossus, he is also a law unto himself. It is as if he takes the legacy of a realism that is only in his hands magical (because of the enchantment he creates from it) as a kind of blank cheque with which he can license any expense of narrat ...