Essays
I found Don Anderson’s essay ‘Leisure’ (ABR, August 1997) interesting, but was intrigued by his photo that covers almost one third of a page. There is a lengthy biographical note which tells us that Don is ‘a member of the English Department at the University of Sydney. His monthly column, ‘Between the Lines’, appears in the Sydney Morning Herald.’ The note also informs us that he contributes a quarterly essay to 24 Hours and has been appointed to the Board of the Sydney Writer’s Festival. I also find out from the note about his most recent book.
... (read more)Richard Hall, in ‘Debasing Debate: The Language of the Bland’, had neither the grace nor the courtesy to contact me when preparing his essay on ‘the language, methods and findings’ of The Mackay Report. Had he done so, I might have been able to caution him against publishing such false and misleading material. I could certainly have asked him to correct several errors of fact but, more importantly, I could have alerted him to the many misconceptions, misrepresentations, and untruths in his article which would inevitably destroy any value it might otherwise have.
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The fanzine is not a magazine. It bypasses and subverts the economics of commercial publishing and it reasserts the creative link between writing and production. Zines can also, because of the ‘terrorism’ of their production and distribution, bypass the convoluted legalistic boundaries of copyright. Graphics, slabs of text, photos, and images are photocopied, scanned, and pasted into fanzine, then cut-up, reassembled, and often made to assume an oppositional symbolic meaning to that of the original image.
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I grew up in a once-upon-a-time land when milk and loaves appeared at the door to the jingle of bells and the clopping of hooves, when housewives were wistful Cinderellas in sacking aprons and hair permanently rollered for the ball, when men wore hats, and lifted them to the funerals of strangers passing in the street. That time – the forties, the early fifties – has been mythologised into a Camelot of Anglo-Celtic virtue, or a dark age of tribalism and British cooking. In my recollection, of course, it was neither, but simply the way things were. It is disconcerting to find one’s private past, one’s little collection of ordinary memories, become a matter of ideological dispute, and to discover, after peaceful decades spent reading historical documents, that you have become a historical document yourself.
... (read more)Here it is, nearly Christmas, and as usual, the list of Books I Have Read is running into the hundreds, and I have that end-of-year mad, fleeting illusion that also afflicts exam-fevered students … that somehow it All Adds Up.
... (read more)What is the relationship between our literary culture and the academy? Moreover, should there be any relationship between the two, or is it healthier if each remains separate, largely isolated from the other? These-questions were brought into focus for me by ‘Word Games’, a provocative essay in the Spring issue of Island, that lively Tasmanian literary magazine.
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In the thirty or so years that she has been publishing fiction, Thea Astley has mapped out a literary territory very clearly her own, a territory that is defined in the first place by regional geography.
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Publishers are like invisible ink. Their imprint is in the mysterious appearance of books on shelves. This explains their obsession with crime novels.
To some authors they appear as good fairies, to others the Brothers Grimm. Publishers can be blamed for pages that fall out (Look ma, a self-exploding paperback!), for a book’s non-appearance at a country town called Ulmere. For appearing too early or too late for review. For a book being reviewed badly, and thus its non-appearance – in shops, newspapers and prized shortlistings.
As an author, it’s good therapy to blame someone and there’s nothing more cleansing than to blame a publisher. I know, because I’ve done it myself. A literary absolution feels good the whole day through.
... (read more)'Patrick White and Australian Writing: Towards a new Asian Pacific literature' by Zhu Jiongqiang
Professor Zhu Jiongqiang works in the Department of Foreign Languages at Hangzhou University in the People’s Republic of China. A specialist in Australian literature, he has translated Patrick White’s The Eye of the Storm into Chinese, and has written extensively on Australian writing in both Chinese and English. In this translated extract from a discussion about the history and current trends in Australian literature, Professor Zhu places Patrick White in the context of literary schools. He finishes by suggesting that new styles of writing are emerging from the kinds of writing introduced by White and that a new Asian Pacific culture – the culture of Australia – is coming into prominence.
From the end of the Second World War, the most illustrious and noteworthy writer in Australia was Patrick White. Someone said that contemporary Australian literature is Patrick White and there is some truth in this remark.
... (read more)For the past year I have been engaged in one of the activities that Robert Dessaix charges (ABR No. 129) are not only unnecessary but ‘harmful’ to the many writers briefly involved. I have been working as a Research Fellow at Deakin University with Sneja Gunew as the last in a line of bibliographers which has included Lolo Houbein and Alexandra Karakostas-Seda, updating and extending a bibliography of first and second generation Australian writers from non-Englishspeaking backgrounds. I have also been working on acquiring books by these writers to include in the collection of ‘Australian Literature’ at the Deakin University Library.
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