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At the first interview, I sat in a plastic canteen chair while Berkeley lay under a towel and a woman with spiked hair dug into the cords of his thigh. He rested his chin on his forearms so he could talk, his eyes boring into my notebook, as if he could read the questions upside-down from the massage table. His blonde eyebrows faded into his skin and made his forehead look overdeveloped ...
It is a truth, maybe not universally acknowledged but a truth nonetheless, that epiphanies tend to happen earlier rather than later in one’s life. Soul-shattering, life-changing experiences occur more regularly when the soul is tender enough to be shattered and the life malleable enough to be changed.
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I have broad tastes: Jimmy Little, Sufjan Stevens, Frank Sinatra, Radiohead, P.J. Harvey, Lorde, Gurrumul, Powder-finger, Karma County, Sex Pistols, Paris Combo … I’d like to be able to drop some more highbrow names into the mix, but honestly I never listen to Mozart or Bach.
Ten years ago historical novels were an unwanted rarity in Australian children’s publishing. Instead, there was a vogue for time-slip novels where a contemporary kid went travelling back into the past, as though history would be too hard for younger readers to handle without some sort of tour guide.
Over the past three decades, Peter Beilharz has carved out an important space in Australian social and socialist theory. Co-founder of the journal Thesis Eleven, Beilharz’s work ranges from studies of Australian labourism and European social democracy to more general works in socialist and social democratic theory. Alongside these he has written two important works addressing the themes of culture and modernity. One of them is a study of Bernard Smith (Imagining the Antipodes, 1997) and the other is on the Polish émigré sociologist Zygmunt Bauman (2000). The essays collected in Beilharz’s latest volume cover much of his intellectual journey over a period of twenty-five years ‘from socialism, to modernity, via Americanism’, as he titles his introduction. Beilharz well understands that the art of the essay is conversation rather than argument, raising possibilities rather than seeking a single answer. All the essays – engaging, learned, and undogmatic – reflect the kind of pluralistic and open-ended politics that Beilharz is concerned to promote.