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January–February 2021, no. 428

Welcome to our summer issue – the first of 2021. On our cover is Peter Porter, to complement the five poems shortlisted in the 2021 Porter Prize. This year’s shortlist is wonderfully diverse, with poets from Australia, Canada and the United States. Elsewhere, Jon Piccini reviews two very different readings of the Palace Letters. Timothy J. Lynch lauds Barack Obama’s memoirs as the best presidential memoirs since Ulysses S. Grant’s, but notes a certain elephant in the room – Donald Trump and the spectre of Trumpism. Louise Milligan is our Open Page guest this month, and Beejay Silcox reviews Milligan’s new book, Witness, a searing account of the brutal cost of seeking justice in this country – especially for witnesses. Tim Byrne considers the early, rambunctious years of Nick Cave. We also review new novels by Garry Disher, Ceridwen Dovey, Dennis Glover and Anna MacDonald.

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A Poetics of Fo(u)rgetting by Sara M. Saleh
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I forget tradition, a tray of sticky dates passed around the kitchen table, bismillah
in our mouths before we ravenously break the dusk, chew and spit back the pits. Ma ladling
lumpy lentil soup, abandonment pouched in her long sleeves, an old injury she does not
stop pressing. How are we still here? Made of garlic breath, violent affection, arrears.

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i.
I forget tradition, a tray of sticky dates passed around the kitchen table, bismillah
in our mouths before we ravenously break the dusk, chew and spit back the pits. Ma ladling
lumpy lentil soup, abandonment pouched in her long sleeves, an old injury she does not
stop pressing. How are we still here? Made of garlic breath, violent affection, arrears.
Ma pushes, alhamdullilah for these bounties, we are blessed, girls.
These pleasantries,

these communal myths we tell to spare each other.

ii.
I forget how I cannot see the stars, how the barbecued smoke eats at the sky, how we
elbow our way through chattering heads congealed in every crack on Haldon. I cannot
see the sidewalk, but I hear it – Sahlab! Sahlab! Mustachioed men in red tarbooshes
summon us beneath strings of plastic crescents – dangling babies shriek parents into
surrender – a siren wails somewhere. This evening orchestra. My sisters dervish and
droop: shiny baubles, painted gold lids and hips, desires too big for the lives that chose
them. Ma says, this love is haram, so we learn to keep our distance. Together we
remember the Lord.
These celebrations,

these distractions we share to comfort one another.
And naming those who stray will not bring them back in any religion.

iii.
I forget how our Lebanon made its way to Lakemba. Mothers of disappeared sons wait;
they hold up headscarves like white flags, like nooses; war wants us even in peacetime.
These Muslim dogs, these ragheads, chalk outlines and choppers crawling low. Our loss
barely literate. We pretend not to notice, this neighbourhood is an obituary.
These farewells,
these griefs we silence so we do not set ourselves on fire.

iv.
I forget how I awaken in the arms of another. How there are no muezzins interrupting

dawn, only this tango of breaths and gasps. How I have dared to worship in a language
that is not Arabic, how I tried to scrub and scrub ma’s beauty spots off my face. You are
devoted to them, to this altar of soft, turmeric skin and sadness. I shake the shame out of
my curls, I dip into the surge, the stagger, the rapture and the rupture. The din – it ruined
me, it split my god. I want to pray, but I cannot recall the verses.
These divinations,
these transgressions, so I do not forget
every lonely night that ever was.

 


Read the full shortlist for the 2021 Peter Porter Poetry Prize by clicking here.

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Beejay Silcox reviews Witness: An investigation into the brutal cost of seeking justice by Louise Milligan
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The street entrance to the Melbourne Magistrates’ Court is a scoop-hungry gauntlet of journos who spend the day jostling for soundbites, ever ready to give chase. As a rookie reporter, Louise Milligan used to be part of the Sydney court scrum, but when she arrived to give evidence in Australia’s ‘Trial of the Decade’, she had become the story. In her investigative work for ABC’s Four Corners – which begat the Walkley Book Award-winning volume Cardinal: The rise and fall of George Pell (2017)Milligan had been the first person to hear one of the criminal accusations against the Vatican’s disgraced treasurer

Book 1 Title: Witness
Book 1 Subtitle: An investigation into the brutal cost of seeking justice
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Book 1 Biblio: Hachette, $34.99 pb, 374 pp
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‘If victims don’t come forward, what then?’

Louise Milligan, Witness

The street entrance to the Melbourne Magistrates’ Court is a scoop-hungry gauntlet of journos who spend the day jostling for soundbites, ever ready to give chase. As a rookie reporter, Louise Milligan used to be part of the Sydney court scrum, but when she arrived to give evidence in Australia’s ‘Trial of the Decade’, she had become the story. In her investigative work for ABC’s Four Corners – which begat the Walkley Book Award-winning volume Cardinal: The rise and fall of George Pell (2017)Milligan had been the first person to hear one of the criminal accusations against the Vatican’s disgraced treasurer. If Pell’s defence team could discredit her, they could discredit what she’d heard. ‘As journalists, it’s always drummed into us that you are not the story. Never become the story,’ Milligan writes in her follow-up, Witness. ‘It’s the weirdest thing, when you have no interest in becoming the story, but you have no choice.’

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Christopher Menz reviews The Louvre: The many lives of the world’s most famous museum by James Gardner
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Although most of the ten million annual visitors to the Louvre think of it as an art museum and former royal palace, for much of its history it has performed other functions. The Louvre has also played a defining role in many events in French history. Its raison d’être in the Middle Ages was as a fortification in the then most westerly part of Paris. Transformed into a royal palace during the sixteenth century, it has undergone more than twenty different extensions and renovations under successive rulers and administrations, emerging as the behemoth we know today. Surprisingly for a building that so much embodies Paris and feels so permanent, much of the Louvre was created during the third quarter of the nineteenth century under Napoleon III, when it was almost doubled in size and given its external ‘dizzying opulence’, as James Gardner describes it in this new book.

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Book 1 Title: The Louvre
Book 1 Subtitle: The many lives of the world’s most famous museum
Book Author: James Gardner
Book 1 Biblio: Grove Press, $39.99 hb, 416 pp
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Although most of the ten million annual visitors to the Louvre think of it as an art museum and former royal palace, for much of its history it has performed other functions. The Louvre has also played a defining role in many events in French history. Its raison d’être in the Middle Ages was as a fortification in the then most westerly part of Paris. Transformed into a royal palace during the sixteenth century, it has undergone more than twenty different extensions and renovations under successive rulers and administrations, emerging as the behemoth we know today. Surprisingly for a building that so much embodies Paris and feels so permanent, much of the Louvre was created during the third quarter of the nineteenth century under Napoleon III, when it was almost doubled in size and given its external ‘dizzying opulence’, as James Gardner describes it in this new book.

Read more: Christopher Menz reviews 'The Louvre: The many lives of the world’s most famous museum' by James...

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Joshua Krook reviews If Then: How one data company invented the future by Jill Lepore
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Long before Amazon, Twitter, and Facebook, a company called Simulmatics Corporation sought to predict and control human behaviour through the analysis of big data. If Then tells the story of that company, from its humble beginnings in a tiny office on Madison Avenue to the hallways of political power in Washington, DC.

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Book 1 Subtitle: How one data company invented the future
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Book 1 Biblio: John Murray, $32.99 pb, 427 pp
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Long before Amazon, Twitter, and Facebook, a company called Simulmatics Corporation sought to predict and control human behaviour through the analysis of big data. If Then tells the story of that company, from its humble beginnings in a tiny office on Madison Avenue to the hallways of political power in Washington, DC.

The story starts and ends with Ed Greenfield. Greenfield was an adman, businessman, and early adopter of new technology. An optimist might regard him as an entrepreneur in the vein of Bill Gates. A cynic might call him a huckster, a Hollywood-style conman whose life seems almost too bizarre to be true, until you see the closing credits read: ‘Based on a true story’.

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Carol Middleton reviews Soar: A life freed by dance by David McAllister with Amanda Dunn
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David McAllister, known affectionately as ‘Daisy’ to his fellow dancers, completed this memoir just as Covid-19 put paid to the exciting program he had devised for his final year as artistic director of the Australian Ballet. In spite of the cancelled world premières, McAllister makes no complaint about what must surely have been a disappointing finale to a stellar career, but he remains upbeat, turning his hand to modest ‘Dancing with David’ videos, alongside the company’s filmed performances and the Bodytorque.Digital program.

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Book 1 Title: Soar
Book 1 Subtitle: A life freed by dance
Book Author: David McAllister with Amanda Dunn
Book 1 Biblio: Thames & Hudson, $39.99 hb, 247 pp
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David McAllister, known affectionately as ‘Daisy’ to his fellow dancers, completed this memoir just as Covid-19 put paid to the exciting program he had devised for his final year as artistic director of the Australian Ballet. In spite of the cancelled world premières, McAllister makes no complaint about what must surely have been a disappointing finale to a stellar career, but he remains upbeat, turning his hand to modest ‘Dancing with David’ videos, alongside the company’s filmed performances and the Bodytorque.Digital program.

McAllister is retiring from the Australian Ballet after forty years, twenty of them as artistic director. He is the longest-serving AD in the company’s history, an indication of his competence, vision, popularity, and determination. He attributes some of his success to luck, as well as to the mentorship of luminaries in the world of ballet, but he admits that a competitive nature drove him to prove the naysayers wrong. What would have stopped many of us in our tracks added fuel to McAllister’s passion for dance.

Read more: Carol Middleton reviews 'Soar: A life freed by dance' by David McAllister with Amanda Dunn

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