Maria Takolander

Imagine a cross between Tim Winton’s The Turning and Kenneth Cook’s Wake in Fright, and you might very well imagine John Kinsella’s latest collection of fiction, Tide. Kinsella, a Western Australian like Winton, writes of the coast and of the desert, of small-town life and small-town people. However, Kinsella highlights the corruption of those landscapes and people in a way that aligns his vision more with Cook’s (which should come as no surprise, given Kinsella’s anti-pastoral poetry). There are ships pumping ‘alkaline hell’ into the waters where children swim, meatworks leaking blood to the sharks, factories, mines, old batteries, and trenches. Men are ‘brutal and brutalising’. Even boys torment and humiliate one another, often with the approval or complicity of their guardians. If someone outside Australia wanted to understand a country that hounded its first female prime minister out of office and voted in Tony Abbott on a platform against boat people and the carbon tax, this is the book I would recommend.

An old woman, caught between the present and her troubled past in another hemisphere, picks herself out of a puddle of water: ‘Her head is tender, and the left side of her body still feels strange: as if she has lost half of herself. Nevertheless, she understands things again.’ The characters in Maria Takolander’s collection of short stories, The Double, often seem as if they have mislaid parts of themselves – their sense of groundedness, their belief systems, their personal histories – but they push on, not always to positive effect.

John Leonard’s anthology of young Australian poets, showcasing the work of an exclusive septet, comes hot on the heels of Felicity Plunkett’s more accommodating Thirty Australian Poets (reviewed by Fiona Wright in the December 2011–January 2012 issue of ABR). Young Poets: An Australian Anthology ...

Robyn Rowland writes what could be described as a traditionally feminine, aestheticised mode of lyric poetry. Rowland’s poetic landscape is one that shimmers with moonlight, in which one finds cherry blossom and exotic fruit, waterfalls and peacocks, and sensuality (if not sex), and in which the language is always pleasing. Perhaps it is my cultural background – coming from a dour nation of Finns – or the fact that I am a formworker’s daughter, but this world is not familiar to me. Indeed, it seems to belong to a particular tradition of lyric poetry, rather than to any reality. Nevertheless, there is honesty and poignancy in Rowland’s New and Selected Poems, which speak of lost relationships, childbirth, illness, the death of loved ones, and the various individuals and historical events that inspired her interest or hope.