Ben Hills’s biography of Princess Masako has a second subtitle: The Tragic True Story of Japan’s Crown Princess. It is a taste of the work to come, of both the hyperbole and the author’s tendency to explain everything to the reader. But then, the book is promoted not as a serious biography but as a ‘romance gone wrong’. Written by a Fairfax investigative reporter, it reads like an extended feature article, with the historical strands teased out but little empathy with its main characters.
Book 1 Title: Princess Masoko
Book 1 Subtitle: Prisoner of the Chysanthemum Throne
Book Author: Ben Hills
Book 1 Biblio: Random House, $34.95 pb, 320 pp
Book 1 Author Type: Author
Display Review Rating: No
Ben Hills’s biography of Princess Masako has a second subtitle: The Tragic True Story of Japan’s Crown Princess. It is a taste of the work to come, of both the hyperbole and the author’s tendency to explain everything to the reader. But then, the book is promoted not as a serious biography but as a ‘romance gone wrong’. Written by a Fairfax investigative reporter, it reads like an extended feature article, with the historical strands teased out but little empathy with its main characters.
An Australian Republic presents itself as the book to reopen the republic debate – a defibrillator for our body politic. It turns out, however, to be another example of the lazy argument that marks much of Australia’s progressive discourse. It answers to nothing but its own echo chamber. Meaningless sentences such as ‘Australia is a nation of multiple and changing identities; a moving kaleidoscope of diverse and colourful images’ abound; baseless statements – such as ‘for many of those immigrants … a constitutional system that identified both structurally and symbolically with Australia’s British origins was incompatible, unfamiliar, and indeed alien’ – are supported with the barest of evidence (the quote’s footnote refers readers to an article in Feminist Review entitled ‘The Republic is a Feminist Issue’). Inconsistencies stick out like bookmarks: John Howard’s narrowly economic definition of Australianness ‘promotes a distinctive and exclusively white, male-orientated, Brito-centric identity’. True, perhaps, but this could equally be said about other conceptions of Australian identity presented, without censure, on the preceding page.
Book 1 Title: An Australian Republic
Book Author: Greg Barnes and Anna Krawec-Wheaton
Book 1 Biblio: Scribe, $22 pb, 135 pp
Book 1 Author Type: Author
Display Review Rating: No
An Australian Republic presents itself as the book to reopen the republic debate – a defibrillator for our body politic. It turns out, however, to be another example of the lazy argument that marks much of Australia’s progressive discourse. It answers to nothing but its own echo chamber. Meaningless sentences such as ‘Australia is a nation of multiple and changing identities; a moving kaleidoscope of diverse and colourful images’ abound; baseless statements – such as ‘for many of those immigrants … a constitutional system that identified both structurally and symbolically with Australia’s British origins was incompatible, unfamiliar, and indeed alien’ – are supported with the barest of evidence (the quote’s footnote refers readers to an article in Feminist Review entitled ‘The Republic is a Feminist Issue’). Inconsistencies stick out like bookmarks: John Howard’s narrowly economic definition of Australianness ‘promotes a distinctive and exclusively white, male-orientated, Brito-centric identity’. True, perhaps, but this could equally be said about other conceptions of Australian identity presented, without censure, on the preceding page.
Who reads literary magazines, and why do they? Writers looking for what is being published, academics keeping up with who is being published, the elusive ‘general reader’ looking for a good read? The current volumes of HEAT and Westerly offer multiple reasons and rewards for picking them up, reasons which extend well beyond these superficial factors. Reasons which may send you to the postbox with a subscription form.
Book 1 Title: Westerly
Book 1 Subtitle: Volume 51
Book Author: Delys Bird and Dennis Haskell
Book 1 Biblio: $25.95 pb, 234 pp
Book 1 Author Type: Editor
Book 2 Title: HEAT
Book 2 Subtitle: Number 12
Book 2 Author: Ivor Indyk
Book 2 Biblio: Giramondo, $24.95 pb, 212 pp
Book 2 Author Type: Editor
Book 2 Cover (800 x 1200):
Display Review Rating: No
Who reads literary magazines, and why do they? Writers looking for what is being published, academics keeping up with who is being published, the elusive ‘general reader’ looking for a good read? The current volumes of HEAT and Westerly offer multiple reasons and rewards for picking them up, reasons which extend well beyond these superficial factors. Reasons which may send you to the postbox with a subscription form.
From the mid-nineteenth century, the city of Florence and its surrounding hills were home to a large expatriate community in which the British were both prominent and visible – in the English tearooms and English pharmacy, in the waiting rooms of the English doctors and bankers, in the pews of the English Church. The foreigners came to live in a better climate and at less expense, to discover the world and themselves, to write, paint, collect, to escape the restraints – or the failures – of home, and to live unorthodox and unconventional lives. Aldous Huxley, whose enthusiasm for Florence was brief, wrote of this cultural mecca as ‘a third-rate provincial town, colonized by English sodomites and middle-aged Lesbians’. Despite, or because of, Huxley’s view, this English colony and its denizens, who more than adequately memorialised themselves, continue, like Bloomsbury, to be a popular and marketable publishing commodity. In his recent contribution on Florence to The Writer and the City series, David Leavitt suggested that Florence was unusual in that its most famous citizens for at least the past one hundred and fifty years have been foreigners. He then went on to make the foreigners the subject of his biography of the city, Florence: A Delicate Case (2002).
Book 1 Title: A Castle in Tuscany
Book 1 Subtitle: The remarkable life of Janet Ross
Book Author: Sarah Benjamin
Book 1 Biblio: Murdoch Books, $45 hb, 223 pp
Book 1 Author Type: Author
Book 1 Readings Link: booktopia.kh4ffx.net/ZdvQLQ
Display Review Rating: No
From the mid-nineteenth century, the city of Florence and its surrounding hills were home to a large expatriate community in which the British were both prominent and visible – in the English tearooms and English pharmacy, in the waiting rooms of the English doctors and bankers, in the pews of the English Church. The foreigners came to live in a better climate and at less expense, to discover the world and themselves, to write, paint, collect, to escape the restraints – or the failures – of home, and to live unorthodox and unconventional lives. Aldous Huxley, whose enthusiasm for Florence was brief, wrote of this cultural mecca as ‘a third-rate provincial town, colonized by English sodomites and middle-aged Lesbians’. Despite, or because of, Huxley’s view, this English colony and its denizens, who more than adequately memorialised themselves, continue, like Bloomsbury, to be a popular and marketable publishing commodity. In his recent contribution on Florence to The Writer and the City series, David Leavitt suggested that Florence was unusual in that its most famous citizens for at least the past one hundred and fifty years have been foreigners. He then went on to make the foreigners the subject of his biography of the city, Florence: A Delicate Case (2002).
Here we have one brand new literary journal, Etchings, and one which, by comparison, is practically geriatric: Famous Reporter. There is now a proliferation of literary journals, and SPUNC (Small Press Underground Networking Community) has emerged to advance their cause. We know that mainstream publishing is producing less diverse material, and that it is increasingly not Australian. The vast majority of publishing in Australia, as Michael Wilding has highlighted, is now done by local branches of big transnational corporations. Malcolm Knox has revealed the ‘governing management principles’ of such organisations. These include ‘segmentation and internal competition’: whereas in the past a publisher subsidised ‘book sections’, now a publisher will say ‘each of these books is a discrete unit and is at war with each other unit, and if the CSIRO Diet Book does well, we will reward the diet books section with the money to repeat that success. And if the poets continue to languish, we’ll have no more poetry.’ Poetry, of course, was effectively given the flick by mainstream publishers Penguin and OUP in the 1990s. As Mark Davis says, publishers are now akin to gamblers who ‘back winners’. This may always have been true, but now they’re putting more money on the favourites and none on the roughies. In this environment, literary journals that publish poetry are crucial to maintaining a diverse local literary culture.
Book 2 Author: Sabine Hopfer, Christopher Lappas and Patrick Allington
Book 2 Biblio: Ilura Press, $68 sub (3 issues p.a.) pb, 207 pp
Book 2 Author Type: Editor
Display Review Rating: No
Here we have one brand new literary journal, Etchings, and one which, by comparison, is practically geriatric: Famous Reporter. There is now a proliferation of literary journals, and SPUNC (Small Press Underground Networking Community) has emerged to advance their cause. We know that mainstream publishing is producing less diverse material, and that it is increasingly not Australian. The vast majority of publishing in Australia, as Michael Wilding has highlighted, is now done by local branches of big transnational corporations. Malcolm Knox has revealed the ‘governing management principles’ of such organisations. These include ‘segmentation and internal competition’: whereas in the past a publisher subsidised ‘book sections’, now a publisher will say ‘each of these books is a discrete unit and is at war with each other unit, and if the CSIRO Diet Book does well, we will reward the diet books section with the money to repeat that success. And if the poets continue to languish, we’ll have no more poetry.’ Poetry, of course, was effectively given the flick by mainstream publishers Penguin and OUP in the 1990s. As Mark Davis says, publishers are now akin to gamblers who ‘back winners’. This may always have been true, but now they’re putting more money on the favourites and none on the roughies. In this environment, literary journals that publish poetry are crucial to maintaining a diverse local literary culture.
