Commentary
Antipodes: A North American Journal of Australian Literature was founded in 1987 as the journal of the American Association of Australian Literary Studies, itself founded the previous year. Both institutions are products of the Hawke era, when the still-simmering question of Australian identity and the Australian film boom of the early 1980s created an ideal state for Australians to be interested in (and to help fund) US literary culture’s own nascent interest in Australia.
From the beginning, it had no problem attracting prestigious contributors. A.D. Hope, Peter Carey, Les Murray, Thea Astley, Rosemary Dobson, and Mudrooroo were all featured in early issues. Even Patrick White consented to be profiled, though not formally interviewed, by our gentlemanly founding fiction editor, Ray Willbanks. Paul Kane, our poetry editor, has always made sure we are vitally engaged with the best and most exciting Australian verse. The journal continues to publish biannually, with most space devoted to refereed academic essays, but also including fiction, poetry, book reviews and the most recent addition – creative non-fiction, a hybrid genre in which regular contributors such as Ouyang Yu, Elizabeth Bernays, and the ‘Trans-Tasman’ figure Stephen Oliver have excelled.
... (read more)A New Literary History of America edited by Greil Marcus and Werner Sollors
Holden Caulfield is a garrulous bore. Seymour Glass is a phoney. Franny and Zooey are spoiled brats. And J.D. Salinger is a media tart. All these things are partly true. To take the last first: there is surely a ring of truth about Imre Salusinzsky’s recent spoof obituary in which Jay Leno and David Letterman are quoted expressing their sadness at the loss of a favourite regular guest who was always ready to front up and sparkle as he promoted an endless succession of Catcher in the Rye merchandise. Salinger, who died on January 27, aged ninety-one, may not have done such things, but at least one of his alter egos might.
... (read more)In 2004, Somersault, a drama of youthful coming to terms with life’s challenges, scooped the pool at the Australian Film Institute’s annual awards. It was a melancholy comment on the state of the local industry that no other films could compete with this affecting but scarcely remarkable work. How different the situation will be in 2009.
... (read more)Clive James has been at the business of writing now for so long that his literary activities have almost outlived the fame that used to get in the way of their apprehension. Twenty or so years ago, it was possible to think that the man who clowned around in those ‘Postcards’ travelogues on television, and who seemed to reach some apogee of self-satisfaction and self-definition chatting to celebrities on the box, was just slumming it when it came to literature; that he had bigger fish to fry than this diminished thing, even, if he was forever reminding us of the grandness of the refusal he had made.
... (read more)In the anniversary week of Barack Obama’s election, the New York Yankees won the World Series, as all the world surely knows by now. The victory might have guaranteed a celebration, even in an America where unemployment hit ten per cent in the same week, but the glitz of the Yankees’ Friday ticker-tape parade through Lower Manhattan’s sombre but not sobered financial district was overshadowed by the news of the mass shooting at Fort Hood in Texas by American-born Major Nidal Malik Hasan.
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A year ago, I came to Australia prepared to spend the first half of my sabbatical leave completing a book on John Keats. Never having been to Australia, I was eager to spend some time here: five months in all. When I participated in the 2008 Mildura Writers Festival, it became clear to me that something both delightful and extraordinary was at work. There was a fine group of writers, including Les Murray, David Malouf, Alice Pung, Alex Miller, Sarah Day, and Anthony Lawrence. But what made the festival remarkable was the combination of conviviality and serious talk about literature and ideas that surpassed anything in my previous experience, which included far more such events than I could begin to count.
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Kenneth Cook was always a little surprised by the success of Wake in Fright. He dismissed it as a young man’s novel, as indeed it was; he published it in 1961, when he was thirty-two. Among his sixteen other works of fiction he was prouder of Tuna (1967), a partial reimagining of Hemingway’s The Old Man and the Sea set off the coast of South Australia, and The Man Underground (1977), which dealt with opal mining. Perhaps he preferred them because he had enjoyed the research involved. It is true that both are better crafted, more assured, than the novel that made his name. But he could never quite accept that Wake in Fright delineated grim truths about the bush and its inhabitants that his other novels do not capture.
... (read more)Perhaps the most influential guide to ‘theory’ in Australia in the 1980s was Terry Eagleton’s Literary Theory: An Introduction (1983). The cover of my paperback edition features a detail from Jan Vermeer’s painting Mistress and Maid, in which a respectful domestic servant hands a document to her mistress, who is seated at a writing table. I take this to be a visual allusion to Alexander Pope’s formulation in An Essay on Criticism that ‘Criticism [is] the Muse’s Handmaid’. Eagleton’s polemical refusal of that secondary and facilitating role was influential in turning a generation of Australian literary critics from ‘criticism’ to ‘critique’. From Graeme Turner’s National Fictions (1986) and Kay Schaffer’s Women and the Bush (1987) to my own Writing the Colonial Adventure (1995) and Susan Sheridan’s Along the Faultlines (1995), the cultural-nationalist and new-critical canons alike were supplemented by alternative canons – feminist, realist, postcolonial and ‘popular’ – as texts were subjected to rigorous ideological critique for their representations of class, race, gender and nation. Criticism was no longer the handmaid to literature; a hermeneutics of scepticism and suspicion prevailed.
... (read more)The new English edition of a selection of Harwood’s poems comes with an excellent editorial pedigree. With his co-editorship of Gwen Harwood: Collected Poems 1943–1995 (2003) and his editorship of A Steady Storm of Correspondence: Selected Letters of Gwen Harwood 1943–1995 (2001), Gregory Kratzmann has established himself as the foremost of Harwood scholars. As a major critic of Australian poetry, Chris Wallace-Crabbe was an early champion of Harwood’s poetry, with a particular affinity, demonstrated in his own poetry, for the wit and wordplay that are distinguishing marks of Harwood’s work.
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