Australian literature

We are the wordsmiths of the world; we spoke seven to ten languages and used long and complex words in all of them to explain long and complex philosophical statements. We should not apologise for being good with words and their use – it is our heritage.

Why does the publishing industry elevate white writers over #ownvoices writers when it comes to the experiences of communities of colour? It happens because books like American Dirt and Act of Grace fit comfortably with mainstream stereotypes, they don’t challenge white and Western readers to think and see First Nations people and people of colour in their depth and complexity. It happens because the sensationalist depiction of brutal violence and trauma in the Great White Novel sells. Both American Dirt and Act of Grace have plenty of stomach-turning scenes of gratuitous violence, rapes, and beatings. At a time when there is global concern about the plight facing refugees, migrant children being caged and separated from parents, the horrors of offshore detention and border walls, the publishing industry has peddled us these exploitative and cartoonish depictions that produce an easy empathy rather than forcing readers to reckon with their own positionality in structures of power, and the deeper problems that require action.

One billion animals don’t just die without retribution. Some strong message was saying that were doing things all the way wrong and that a shelter-in-place could provide some food for thought on what we could do next.

It is in the worlds of design and architecture that the word Bauhaus is most familiar today. Bauhaus is sometimes taken as a synonym for ‘Modern’. The contribution of the Bauhäuslers and their lesser known colleagues in Australia – Elenore Lange, Dahl Collings and David Foulkes Taylor – and in New Zealand – Ernst Plischke, Heinrich Kulka and Vladimir Čačala – stands as testament to a not yet sufficiently well-known dimension of the art and design histories of those two countries. For too long those histories have been introverted and, in aspiration, excessively nationalistic.

This, Clive James’s final book, is a collection of his writings on Larkin and his work. James takes his title from the final words of Larkin’s ‘The Whitsun Weddings’ (1959). The ninety four pages, which include copies of one manuscript letter and two typed letters from Larkin to James, don’t offer very much book for your money, but you do get Clive James, who’s always good value. His explanation of why Jack Nicholson is the only Hollywood actor appropriate to play Larkin onscreen justifies the price of admission.

Reading and writing are bodies within bodies and rooms within each other. Fitch’s poetry is exemplary in terms of showing us the possibilities – and impossibilities (like reading in a dark room, like being in spaces we aren’t) – of the reading/writing (or pretext/text) relation. But there is no separate room or compartment where we house our reading: writing brings back all kinds of memories of mental and affective experience, including those involving digital forms, and material art.

‘Though few would associate one with the other, the ‘Bard of Bunyah’ and the writer once renowned for being the country’s first Aboriginal novelist lived remarkably parallel literary lives. They were born three months apart in 1938; they both lost parents early in life and endured difficult childhoods in rural towns; they led somewhat peripatetic existences in their early twenties before publishing their first books to modest acclaim in 1965; they rose in reputation through the 1970s and 80s (Murray much more quickly than Mudrooroo) and by the 1990s had become singular presences in Australian literature; they had life and career defining moments in 1996 that brought on the final phase of their literary careers. Last year, they died four months apart. In all, Murray spent 42 more days on this earth than Mudrooroo.’

Ask any queer girl, I have learnt, and every single one of us had that one friend, usually in high school, whom we liked a bit too much, who we were enchanted by. Sometimes a very best friend, sometimes a girl on the periphery of a friendship circle, but always, always someone we adored, regardless of whether or not we understood exactly why.

On 9 June 2019, a million people poured into the streets of Hong Kong, kicking off a protest movement that would last seven months, see pitched battles between citizens and police on tear-gassed streets, and shake the territory to its economic foundations. Bruce Lee’s ‘be water’ defined its fluid and agile tactics. But tear gas smoke, flaming Molotov cocktails, chants of ‘If we burn, you burn with us’ and the politically incendiary slogan ‘Reclaim Hong Kong, Revolution of our time!’ showed fire to be the movement’s true element.

Fairweather’s letters are unsettling enough not to make them good bedtime reading. Just like his two reckless sea trips in make-do craft – one in 1944 on an old boat, from Sandgate, on the outskirts of Brisbane, landing on Bribe Island off the coast by chance, and the second in 1952 on a self-made raft from far-north Queensland aiming for Dili – his letters are a rough ride on rolling waves.