Australian literature

There is a peculiar practice in immigrant Sydney that I know well thanks to being born to a pair of Lebanese settlers. It is when a set of beliefs that parents hold true about other ethnicities (usually groups of people who migrated earlier than they did) are told to their children as a kind of forewarning.

The Animals in that Country was published in March 2020. It might be tempting to see the timing of publication as serendipitous, or portentous, depending on your perspective. A novel about a ‘zoanthropathic’ super-flu precipitating wholesale social breakdown, published in the panicked first months of a zooanotic global pandemic. But Laura McKay’s novel, despite its timeliness, is not so intimately tied to the current moment – its vision is broader, and far more interesting. In this particular apocalypse, the foundational threat to human social structures is the emergence of unprecedented insight into the non-human world.

So much has been written on the Heide group of artists, Nolan, Tucker, Hester, and their patrons John and Sunday Reed that it is hard to imagine anything more could be added. π.ο.’s Heide however, though holding this group of communalism, camaraderie, and free love as its centre, radiates backwards to the history that precedes the Reeds’ utopian endeavour, and continues into its aftermath.

The Inland Sea is an omnivorous, heady debut dense with paradox and provocation. With no pretensions to lighting the way out of our current mess, Watts guides us into the thicket, leaves us in an anxious twilight between the material and the figurative.

If women remain hidden, or hide themselves, how are those who follow to find the stories in which they blaze a trail through oceans, or support themselves and their family with literary success? As Clode writes, ‘Stories construct the mythologies of our history, help us to understand our present circumstances and illuminate the possibilities of the future. If we cannot see ourselves in stories, how can we imagine ourselves creating new ones?’ This is not, I expect, a conundrum that can ever be resolved, and one of the great pleasures of these books is the ways in which their authors fill in the blanks.

Lim paints a hard-nosed portrait of middle-aged, single and queer womanhood encircled by the long tail of patriarchy, bolstered by the senseless weaponisation of cultural traditions and the burden of expectation.

Reading the losses arrayed in this anthology to write this review – even as they were tempered by expressions of joy or hope at ecological resilience, or calls for action – I felt somewhat overwhelmed. In that state, I recalled the classic Freudian account of melancholy as a mourning of loss that becomes pathological, because it is perpetual.

Martin has been extraordinarily prolific over the years, and the book is far from a full summary of his achievement – but more than any single previous volume, it offers a broad overview of the range, energy and eloquence that make him one of the living film critics most worth reading. As a personal statement, it is characteristically both discreet and heart-on-sleeve: Martin does not write his private life in more than an occasional, anecdotal manner, but the intimate intensity of his passion for cinema shines out, like a beacon, from almost everything he has ever written.

Ordinary matter is what we are made of – everything we can see or detect with telescopes or microscopes or our own eyes. Such a wide descriptive ambit makes it an apposite title for this second collection of fiction by Brisbane-based Laura Elvery, which ranges far and wide, across decades and geographical spaces, and occupies the nexus between arts and science, writing and innovation.

In her debut novel, A Lonely Girl is a Dangerous Thing, Jessie Tu paints a portrait of an artist on the brink. The neurotic protagonist, Jena Lin, was a child prodigy violinist who toured the world before her public breakdown at the age of 15. Now 22, she is rebuilding her career after detouring through a literature degree, although this time as an orchestra violinist, not a soloist.