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March 2020, no. 419

Welcome to the fiery March 2020 issue of ABR! Our cover features a luminous, shocking photo from the New South Wales bushfires. Award-winning historian Tom Griffiths writes about this ‘season of reckoning’ during which we saw ‘the best and worst of Australia: the instinctive strength of bush communities and the manipulative malevolence of fossil-fuelled politicians’. Elsewhere, Dominic Kelly writes about privilege and The Economist; Yves Rees reviews several trans memoirs; and we have reviews of new novels by Louise Erdrich, Anne Enright, Philip Pullman, Evie Wyld, and Catherine Noske.

Kári Gíslason reviews Aftershocks: Selected writings and interviews by Anthony Macris
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At the beginning of this wide-ranging collection of criticism by the novelist, critic, and academic Anthony Macris, the author notes wryly that an early candidate for the book’s title was Personality Crisis, such is its diversity of topics and styles. The implication here is that reviews and essays form a kind of autobiography. I’m not sure I would use the word ‘crisis’ to describe it, but certainly the portrait we have in this case is of a writer driven by very different kinds of curiosity: about literature and writing but also the art forms that lie beyond them – and, as centrally, by a social and political curiosity about the ways those forms change when they respond to the world around us.

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Book 1 Title: Aftershocks
Book 1 Subtitle: Selected writings and interviews
Book Author: Anthony Macris
Book 1 Biblio: UWA Publishing, $29.99 pb, 349 pp
Book 1 Author Type: Author
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At the beginning of this wide-ranging collection of criticism by the novelist, critic, and academic Anthony Macris, the author notes wryly that an early candidate for the book’s title was Personality Crisis, such is its diversity of topics and styles. The implication here is that reviews and essays form a kind of autobiography. I’m not sure I would use the word ‘crisis’ to describe it, but certainly the portrait we have in this case is of a writer driven by very different kinds of curiosity: about literature and writing but also the art forms that lie beyond them – and, as centrally, by a social and political curiosity about the ways those forms change when they respond to the world around us.

Macris’s own part in that world began in Brisbane in 1962, where he grew up in a house at the back of his parents’ fish-and-chip shop. In 1998, Macris’s first novel, Capital, earned him a place in the Sydney Morning Herald ’s list of Best Young Australian Novelists. The work was the first in a series about the impact of market forces in people’s lives; the second novel, Great Western Highway, appeared in 2012. Along the way, Macris has worked as a Creative Writing academic at the University of Technology Sydney, has been a regular reviewer in the national media, and has published a memoir and, most recently, a collection of short stories.

Read more: Kári Gíslason reviews 'Aftershocks: Selected writings and interviews' by Anthony Macris

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Gillian Wills reviews The Australian Musical from the Beginning by Peter Pinne and Peter Wyllie Johnston
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Contents Category: Theatre
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What is the musical’s appeal? Performing arts venues in Australia’s capital cities stage them year after year; a lucrative box office seems to be virtually guaranteed. The feel-good mix of song, melodrama, and vibrant dance – not forgetting the bonus of a happy ending – can lift the spirits and entertain the entire family. Recently, Chicago (Melbourne, Brisbane), West Side Story, and Billy Elliot (Adelaide) secured packed houses.

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Book 1 Title: The Australian Musical from the Beginning
Book Author: Peter Pinne and Peter Wyllie Johnston
Book 1 Biblio: Allen & Unwin, $79.99 hb, 432 pp
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What is the musical’s appeal? Performing arts venues in Australia’s capital cities stage them year after year; a lucrative box office seems to be virtually guaranteed. The feel-good mix of song, melodrama, and vibrant dance – not forgetting the bonus of a happy ending – can lift the spirits and entertain the entire family. Recently, Chicago (Melbourne, Brisbane), West Side Story, and Billy Elliot (Adelaide) secured packed houses.

Australian classics such as The Boy From Oz, Priscilla, Queen of the Desert, and Eddie Perfect’s Beetlejuice confirm the country’s stellar contribution to the art form, but the rise of the local musical and the triumphs and tribulations of those who championed the genre have gone undocumented until now.

Read more: Gillian Wills reviews 'The Australian Musical from the Beginning' by Peter Pinne and Peter Wyllie...

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David McCooey reviews The Song Remains the Same: 800 years of love songs, laments and lullabies by Andrew Ford and Anni Heino
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Contents Category: Music
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In 1973, aged six, I heard the song ‘Rock On’ by David Essex. I was obsessed by its sound. While I couldn’t have put it into words, I half understood that the song was made sonically exciting not just through its inventive arrangement (a song about rock and roll with no guitars!) but also its production techniques, especially the use of reverb and delay to ‘stage’ the vocal and instrumental performances.

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Book 1 Title: The Song Remains the Same
Book 1 Subtitle: 800 years of love songs, laments and lullabies
Book Author: Andrew Ford and Anni Heino
Book 1 Biblio: La Trobe University Press, $32.99 pb, 288 pp
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In 1973, aged six, I heard the song ‘Rock On’ by David Essex. I was obsessed by its sound. While I couldn’t have put it into words, I half understood that the song was made sonically exciting not just through its inventive arrangement (a song about rock and roll with no guitars!) but also its production techniques, especially the use of reverb and delay to ‘stage’ the vocal and instrumental performances.

‘Rock On’ isn’t mentioned in The Song Remains the Same (though ‘Rock That Thing’ and ‘Rock Your Baby’ are), but the excitement that song gave me is found throughout this superb collection of essays on ‘800 years of love songs, laments and lullabies’. Ranging from a hymn by Hildegard of Bingen to Sia’s ‘Rainbow’, the seventy-five songs discussed in The Song Remains the Same cover bossa nova, ‘art songs’, gospel, jazz, national anthems, and more. There is almost nothing, it seems, that Andrew Ford and Anni Heino can’t write about. This isn’t surprising: Ford is a prize-winning composer, writer, and broadcaster; Heino a musicologist, writer, and editor.

Read more: David McCooey reviews 'The Song Remains the Same: 800 years of love songs, laments and lullabies'...

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Tim Byrne reviews How I Learnt to Act: On the way to not going to drama school by Francis Greenslade
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Contents Category: Memoir
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It’s perhaps a dubious thought, but the life of an actor invariably triggers something prurient in the audience, some desperate need to peer past the mask, to see beyond the curtain. Books by and about actors indulge this prurience, whether or not they are intended to. Works like Konstantin Stanislavski’s An Actor Prepares (1936) or Stella Adler’s The Art of Acting (2000) deal academically with the interiority and motivations of acting, but they still offer a glimpse into the process and the perceived trickery of creation. The most fun are the intentionally salacious ones, like David Niven’s The Moon’s a Balloon (1971) or Scotty Bowers’s Full Service (2017), which detailed the sexual proclivities of Hollywood’s closeted élite. Anything to get us closer, to get us into the inner sanctum.

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Book 1 Title: How I Learnt to Act
Book 1 Subtitle: On the way to not going to drama school
Book Author: Francis Greenslade
Book 1 Biblio: Currency Press, $29.99 pb, 192 pp
Book 1 Author Type: Author
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It’s perhaps a dubious thought, but the life of an actor invariably triggers something prurient in the audience, some desperate need to peer past the mask, to see beyond the curtain. Books by and about actors indulge this prurience, whether or not they are intended to. Works like Konstantin Stanislavski’s An Actor Prepares (1936) or Stella Adler’s The Art of Acting (2000) deal academically with the interiority and motivations of acting, but they still offer a glimpse into the process and the perceived trickery of creation. The most fun are the intentionally salacious ones, like David Niven’s The Moon’s a Balloon (1971) or Scotty Bowers’s Full Service (2017), which detailed the sexual proclivities of Hollywood’s closeted élite. Anything to get us closer, to get us into the inner sanctum.

Read more: Tim Byrne reviews 'How I Learnt to Act: On the way to not going to drama school' by Francis...

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Open Page with Andrew Ford
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Contents Category: Interview
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The idea that reviewing books, concerts, theatre, and the visual arts was part of the function of a journal of record has practically gone. Now if you’re reviewed at all, you’re lucky to get a paragraph. The flip side is the blogger, with no constraints on length, who writes thousands of ill-disciplined words. Obviously, magazines such as ABR have taken up some of the slack, but there’s only so much they can do. When it comes to charting and evaluating daily arts practice, our newspapers have abnegated their duty.

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Where are you happiest?

At home. I’ve never much liked going out. I think better at home and can find the peace to compose. I have to go up to Sydney for two days each week to do The Music Show. While I enjoy the program, it’s a pleasure to return to the Southern Highlands.

 

What is your idea of hell?

Camping. I like a view, but I don’t want to be in it.

Read more: Open Page with Andrew Ford

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