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June–July 2003, no. 252

Welcome to the June–July 2003 issue of Australian Book Review.

Greg Dening reviews ‘Citizen Labillardière: A naturalist’s life in revolution and exploration (1755-1834)’ by Edward Duyker
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Contents Category: Biography
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Article Title: Too Many Captain Cooks
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We who have a colonial past may not remember, nor want to remember, that our forebears had an attitude towards the French something akin to the attitude currently being shown towards them by those thugs in the White House and the US fast-food chains who have declared that they will stop adding to global obesity with ‘french fries’ and do it instead with ‘freedom fries’.

Our French past – our brilliant French past – has been sadly neglected. Possibly because, as one of our first people sharply observed, ‘Too many Captain Cooks’, but also be-cause old political hatreds dig deep and last long. We owe much to a small band of scholars – notably Edward Duyker – who have virtually grabbed us by the back of the neck and said: ‘Look at these people. They are your history. You will see their names all over the continent. You can’t go far into the bush without seeing a plant, a tree or an animal that these Frenchmen have put on the Tree of Knowledge.’ Duyker might add: ‘Look at the floral emblems of Victoria, Tasmania, Western Australia and the emblem for the Centenary of Federation, you will
Book 1 Title: Citizen Labillardière
Book 1 Subtitle: A naturalist’s life in revolution and exploration (1755-1834)
Book Author: Edward Duyker
Book 1 Biblio: Miegunyah Press, $59.95 hb, 408 pp
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We who have a colonial past may not remember, nor want to remember, that our forebears had an attitude towards the French something akin to the attitude currently being shown towards them by those thugs in the White House and the US fast-food chains who have declared that they will stop adding to global obesity with ‘french fries’ and do it instead with ‘freedom fries’.

Our French past – our brilliant French past – has been sadly neglected. Possibly because, as one of our first people sharply observed, ‘Too many Captain Cooks’, but also be-cause old political hatreds dig deep and last long. We owe much to a small band of scholars – notably Edward Duyker – who have virtually grabbed us by the back of the neck and said: ‘Look at these people. They are your history. You will see their names all over the continent. You can’t go far into the bush without seeing a plant, a tree or an animal that these Frenchmen have put on the Tree of Knowledge.’ Duyker might add: ‘Look at the floral emblems of Victoria, Tasmania, Western Australia and the emblem for the Centenary of Federation, you will see Jacques-Julien Houtou de Labillardière’s name imprinted in some way on them.’

Read more: Greg Dening reviews ‘Citizen Labillardière: A naturalist’s life in revolution and exploration...

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Tony Blackshield reviews ‘Owen Dixon’ by Philip Ayres
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Contents Category: Biography
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Article Title: Strict Logic and High Technique
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Owen Dixon joined the Melbourne bar in 1911. By 1918 he was among its leaders, with the young R.G. Menzies as his pupil (and future lifelong friend). In 1926, five months as an acting Supreme Court judge convinced him ‘that I would never be a judge’; but in January 1929 he accepted an appointment to the High Court. There he would stay for thirty-five years – almost from the beginning as the Court’s undoubted intellectual leader, and from 1952 to 1964 as Chief Justice. He is commonly regarded as the twentieth century’s greatest Australian judge, and often as its greatest judge in the English-speaking world. His biography is long overdue.

Australian judicial biographies are rare. Mostly they deal with men whose judicial work was only one phase in a controversial political career. Biographers without legal training have sometimes uncomfortably skirted the edges of the judicial material; but, for Dixon, no such skirting is possible. In this splendid biography, Philip Ayres has risen to the challenge.

Book 1 Title: Owen Dixon
Book Author: Philip Ayres
Book 1 Biblio: Miegunyah Press, $65 hb, 420 pp
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Owen Dixon joined the Melbourne bar in 1911. By 1918 he was among its leaders, with the young R.G. Menzies as his pupil (and future lifelong friend). In 1926, five months as an acting Supreme Court judge convinced him ‘that I would never be a judge’; but in January 1929 he accepted an appointment to the High Court. There he would stay for thirty-five years – almost from the beginning as the Court’s undoubted intellectual leader, and from 1952 to 1964 as Chief Justice. He is commonly regarded as the twentieth century’s greatest Australian judge, and often as its greatest judge in the English-speaking world. His biography is long overdue.

Australian judicial biographies are rare. Mostly they deal with men whose judicial work was only one phase in a controversial political career. Biographers without legal training have sometimes uncomfortably skirted the edges of the judicial material; but, for Dixon, no such skirting is possible. In this splendid biography, Philip Ayres has risen to the challenge.

Read more: Tony Blackshield reviews ‘Owen Dixon’ by Philip Ayres

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Stephanie Trigg reviews ‘Born of the Sea’ by Victor Kelleher
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Contents Category: Fiction
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Article Title: Stitched Up
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The tradition of supplementary fiction dates at least from the fifteenth century, when supplements to the works of Geoffrey Chaucer were generated by the perception that his texts were unfinished or that he had not imposed a sufficiently firm moral closure on them. Robert Henryson famously thought Chaucer hadn’t punished Criseyde enough for her betrayal of Troilus, and set out to remedy the omission in his own Testament of Cresseid. In a more recent example, Emma Tennant’s execrable Pemberly traces the tempestuous married life of Jane Austen’s Darcy and Elizabeth, though in the style of a Neighbours episode.

Book 1 Title: Born of the Sea
Book Author: Victor Kelleher
Book 1 Biblio: Viking, $29.95 pb, 339 pp
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The tradition of supplementary fiction dates at least from the fifteenth century, when supplements to the works of Geoffrey Chaucer were generated by the perception that his texts were unfinished or that he had not imposed a sufficiently firm moral closure on them. Robert Henryson famously thought Chaucer hadn’t punished Criseyde enough for her betrayal of Troilus, and set out to remedy the omission in his own Testament of Cresseid. In a more recent example, Emma Tennant’s execrable Pemberly traces the tempestuous married life of Jane Austen’s Darcy and Elizabeth, though in the style of a Neighbours episode.

Read more: Stephanie Trigg reviews ‘Born of the Sea’ by Victor Kelleher

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Kim Mahood reviews ‘Our Woman In Kabul’ by Irris Makler
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Contents Category: Journalism
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Article Title: Irony upon Irony
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On September 11, 2001, Australian journalist Irris Makler was working as a freelance correspondent in Moscow. The terrorist attacks in New York and Washington focused attention on Afghanistan, and Makler was among the first journalists to make their way into the strife-torn country via its northern neighbour, Tajikistan.

Our Woman in Kabul documents the US invasion of Afghanistan, the routing of the Taliban and the hunt for Osama bin Laden. Makler’s story covers the circumstances of daily life as a female correspondent in a country where women are virtually invisible, the discomforts and challenges of being part of a media feeding frenzy in a place without the infrastructure to support it, and the larger drama of a civil war suddenly escalating into an international conflict. During two decades of fighting, Afghanistan had lost an estimated ten per cent of its population to war, starvation and lack of medical resources. For those of us to whom the name bin Laden seemed to rise like a demonic projection from the underside of the US imagination, Makler’s book provides the background to an event that was formulating its inevitable trajectory in the barren mountains of Afghanistan.

Book 1 Title: Our Woman in Kabul
Book Author: Irris Makler
Book 1 Biblio: Bantam, $32.95 pb, 365 pp
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On September 11, 2001, Australian journalist Irris Makler was working as a freelance correspondent in Moscow. The terrorist attacks in New York and Washington focused attention on Afghanistan, and Makler was among the first journalists to make their way into the strife-torn country via its northern neighbour, Tajikistan.

Our Woman in Kabul documents the US invasion of Afghanistan, the routing of the Taliban and the hunt for Osama bin Laden. Makler’s story covers the circumstances of daily life as a female correspondent in a country where women are virtually invisible, the discomforts and challenges of being part of a media feeding frenzy in a place without the infrastructure to support it, and the larger drama of a civil war suddenly escalating into an international conflict. During two decades of fighting, Afghanistan had lost an estimated ten per cent of its population to war, starvation and lack of medical resources. For those of us to whom the name bin Laden seemed to rise like a demonic projection from the underside of the US imagination, Makler’s book provides the background to an event that was formulating its inevitable trajectory in the barren mountains of Afghanistan.

Read more: Kim Mahood reviews ‘Our Woman In Kabul’ by Irris Makler

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Daniel Thomas reviews ‘James Gleeson: Drawings for paintings’ by Hendrik Kolenberg and Anne Ryan
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Contents Category: Art
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Article Title: The Wilder Shores
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Art is divided into three parts – at least for amateur painters who ask, when they begin acquaintance, ‘Do you do abstract, impressionist or surrealist art?’ Of these, surrealism has the strongest interest for a mass audience, and the deepest penetration into popular culture. When it was new, surrealism was quickly appropriated into commercial and advertising art. Today, commercial cinema is awash with some of surrealism’s youthful political idealism, but more with its fantasies of shock-horror and sex.

Surrealist literature never came to much. The artists took over. If Picasso was the greatest twentieth-century artist, his surrealist paintings from the 1920s onwards might be his own best work. Remember how the best exhibition ever produced in Australia, Surrealism: Revolution by Night (National Gallery of Australia 1993, by Michael Lloyd, Ted Gott and Christopher Chapman), showcased Picasso ahead of Miró, Dalí, Magritte and Ernst. And the star of the Australian component of the exhibition was James Gleeson.

Book 1 Title: James Gleeson
Book 1 Subtitle: Drawings for paintings
Book Author: Hendrik Kolenberg and Anne Ryan
Book 1 Biblio: Art Gallery of NSW, $60 hb, 128 pp
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Art is divided into three parts – at least for amateur painters who ask, when they begin acquaintance, ‘Do you do abstract, impressionist or surrealist art?’ Of these, surrealism has the strongest interest for a mass audience, and the deepest penetration into popular culture. When it was new, surrealism was quickly appropriated into commercial and advertising art. Today, commercial cinema is awash with some of surrealism’s youthful political idealism, but more with its fantasies of shock-horror and sex.

Surrealist literature never came to much. The artists took over. If Picasso was the greatest twentieth-century artist, his surrealist paintings from the 1920s onwards might be his own best work. Remember how the best exhibition ever produced in Australia, Surrealism: Revolution by Night (National Gallery of Australia 1993, by Michael Lloyd, Ted Gott and Christopher Chapman), showcased Picasso ahead of Miró, Dalí, Magritte and Ernst. And the star of the Australian component of the exhibition was James Gleeson.

Read more: Daniel Thomas reviews ‘James Gleeson: Drawings for paintings’ by Hendrik Kolenberg and Anne Ryan

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