Text Publishing

In another era, Arnold Zable might have been a librettist instead of a novelist, like Oscar Hammerstein or Arthur Laurents. His latest novel, Scraps of Heaven, opens with an overture, that borrows a great deal from the books of old Broadway musicals: an early morning scene in the back lanes of 1950s Carlton, filled with the incidental music of milk carts, the syncopated slap of wet laundry and then a woman singing, ‘Enjoy yourself, it’s later than you think’.

For those of us drawn to tell the stories of the past, seventeenth-century England has a great deal to recommend it. It is distant enough to offer the frissons of historical exotica, yet so close that the minds of the time are recognisable to us. In addition, it is hard to think of a period in one country so packed with incident. Where else, in a single lifespan, can a novelist convincingly have his character experience wars – both foreign and domestic – fire, pestilence, regicide and Restoration?

On the face of it, this book represents a strange project: to elaborate for the reader’s consideration the moral beliefs of a man whom the author judges (and judged in advance, one suspects) to be shallow, inconsistent, lacking moral and intellectual sobriety, and to have failed so often to act on the moral principles he repeatedly professes that he can fairly be accused of hypocrisy ... 

The first book of fiction is a little sub-genre with a number of readily recognisable features. It’s loosely structured and tends to be episodic, without much of a plot. It’s at least partly about love and sex, preferably of an obsessive or otherwise significant kind. And it’s at least partly autobiographical. If it’s already a bad book, then these things do tend to make it worse, but if it isn’t, then they don’t necessarily detract; it’s not a value judgement, just an observation.

Aptly, John Ashberry has described Robert Adamson as ‘one of Australia’s national treasures’. Since the late 1960s Adamson has been a vital presence in the renaissance of Australian poetry, both in his own work and as an editor and publisher. The immense command of his writing, its trajectory from the early postmodernist explorations of the poet’s voice and the possibilities of Orphic vision to the clear lyricism of his Hawkesbury poems, has made Adamson one of the reasons why Australian poetry, as Clive James often points out, is as good as any being written in English at the present time. And there is an extraordinary story behind the writing, which comes through in the poetry, and which Adamson now relates in Inside Out: An Autobiography.

Like several other publishers, UNSW Press and Text Publishing have produced responses to the recent war against Iraq. The intention appears to be to engage critically with popular perceptions of the war before these harden into accepted historical ‘memory’. The potential benefits of quickly produced, historically aware and politically critical books, which collate and deal comprehensively with the existing evidence and arguments raised by the mass media on a particular issue, are obvious. The two main dangers with publications of this type are that editing and production standards may slip and that the desire to compete with mass-media forms may lead to a replication of, rather than an alternative to, standard journalistic commentary.

The heroine of Julian Davies’s fifth novel, The Boy, which is set in New York in 1956, is a nightclub singer originally from Australia. The boy of the title, almost half her age, is Zimzam Taylor. They are both outsiders. Marian’s life in New York is a kind of exile, in which she is closest to those she has left behind, such as her painter-husband André and her insistent, disapproving aunt Flavia, whom she left behind on the estate outside Canberra in order to sing in wartime London. Zimzam, as she learns when she picks him up and takes him back to her hotel, is an orphan whose family died in a fire. Now he is a creature of the city:

In Through the Looking Glass, Humpty Dumpty, among his various pronouncements to Alice, pontificates on the meanings of names. After describing the name Alice’ as ‘a stupid name enough’, Humpty Dumpty asks her what the name Alice means. Alice is doubtful: ‘Must a name mean something?’ And Humpty Dumpty retorts: ‘Of course it must ... My name means the shape I am – and a good handsome shape it is, too.’ The question of the meaning of Alice’s name is left unanswered in Lewis Carroll’s text, but it is answered in William Noble’s Names from Here and Far: The New Holland Dictionary of Names. Alice, we are told, is an English form of the name Adelaide, which in turn is a compound from the Germanic words athel, meaning ‘noble’, and Hilda, meaning ‘heroine’, or heid, meaning ‘kind’. Thus Alice means something like ‘nobly born’.

Anyone who heard Inga Clendinnen’s 1999 Boyer Lectures or who has listened to her in any other way will hear her voice clearly in this book: contemplative, reflective, warm, gently paced. Dancing with Strangers seems to have been written as if it were meant to be read aloud. It reaches out to its listeners ...

Being known as a personality can’t be all good. For all the fun that goes with quickness and dazzle, it surely becomes a little dangerous when you come to write an autobiography, or a memoir – whatever the distinction between these two terms is. This occurred to me when, passing the buoyant, bow-tied strider depicted on the front cover, I began to read Patrick McCaughey’s new book, subtitled A Memoir. After all, I have known the author for forty years here and there, in this role or that. Indeed, I remember him as a sixth-former, up at university to hear a literature lecture for schools, given by one of the English Department staff. Yellow scarf tossed back over the shoulder, he challenged her vigorously at question time. That’s one to watch, we thought.