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Released every Thursday, the ABR podcast features our finest reviews, poetry, fiction, interviews, and commentary.
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Episode #186
In this week’s ABR Podcast, Scott Stephens reviews a book by Anne Manne: Crimes of the Crimes of the Cross: The Anglican paedophile network of Newcastle, its protectors and the man who fought for justice. Why is narcissism a central theme for a book about child sexual abuse? Stephens writes: ‘without the capacity or willingness to be attentive to the humanity of another person’, unfathomable cruelty becomes possible. Scott Stephens is the ABC’s Religion & Ethics online editor and the co-host, with Waleed Aly, of The Minefield on ABC Radio National. Listen to Scott Stephens’s ‘Soul blindness: Clerical narcissism and unfathomable cruelty’, published in the May issue of ABR.
What the authors of these three wildly different books share is a gift for creating through language a kind of intimacy of presence, as though they were in the room with you. Emily Wilson’s much-awaited translation of The Iliad (W.W. Norton & Company) is a gorgeous, hefty hardback with substantial authorial commentary that manages to be both scholarly and engaging. The poem is translated into effortless-looking blank verse that reads like music. The Running Grave (Sphere) by Robert Galbraith (aka J.K. Rowling), the seventh novel in the Cormoran Strike crime series and one of the best so far, features Rowling’s gift for the creation of memorable characters and a cracking plot about a toxic religious cult. Charlotte Wood’s Stone Yard Devotional (Allen & Unwin, reviewed in this issue of ABR) lingers in the reader’s mind, with the haunting grammar of its title, the restrained artistry of its structure, and the elusive way that it explores modes of memory, grief, and regret.
... (read more)A distinction needs to made between the critic and the book reviewer, because not all reviewers are critics. The reviews that run in the literary pages of newspapers – plot synopsis followed by puffery or condemnation – bear little relation to criticism, not least because critics read closely while reviewers tend to speed-read. Criticism is an art, and the finest criticism should be equal to its subject: a good critic should have a distinctive voice, a good ear, and a strong style. I like audacity and eccentricity in criticism, and I particularly admire those critics who are alert not only to the words on the page but to the ‘unconscious’ of the text – what is elided, repressed or not quite expressed in the writing.
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