'Cultural scholarship is usually contentious, let alone the kinds of scholarship that infer knowledge about the deep past from limited and fragile sources, but points of scholarly consensus around the autochthonous culture of Australia before and during the transitional phase of European ‘contact’ and then European colonisation have emerged and joined over the last 60 years or so to form extraordinary history, a history that Indigenous narrative traditions were always inviting the non-Indigenous imagination to engage with. '
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The SRB is an initiative of The Writing and Society Research Centre at Western Sydney University
In his pronouncements on art throughout this book, Unsworth constantly reiterates that he saw very little art, read very few art magazines and arrived at his own conclusions – whatever parallels seemed to be apparent were simply happy coincidences and fortuitous parallel trajectories. At least, that is the position adopted in this book, where the artist’s voice is omnipresent and the intentional fallacy is not a consideration.
Robinson may be the moderate face of American religiosity, but she takes some pretty wild swings. The more you read her essays, the more it becomes apparent that she is positing a few simplicities of her own. Whatever manifestation of modern thought she happens to be criticising, her argument is basically the same: she proposes, in essence, that such thinking is too narrow, that it ignores or denies aspects of lived experience, and that its understanding of human nature must therefore be considered inadequate. She returns again and again to the core claim that modern thought is, as she puts it in Absence of Mind (2012), a ‘closed circle’ — by which she means, quite specifically, that its assumptions do not and indeed cannot account for her personal experience of religious belief, her intuition that the universe is a place of wonder and abundant meaning.