Australian literature
Alex Skovron: A Sweeping Range: Towards the Equator
Skovron’s work falls across a number of complex cultural modes. While he has many important things to say about the migrant experience, he also has much to say about more general issues relating to human ontology, as well as to his experience of living in Sydney and Melbourne.
Not Suffering, Not Melancholy: On Happiness
‘Happiness, perhaps more than any other experience, is defined in the negative. That we do not in fact have grasp of a pure state, such as happiness, in isolation from its contraries illuminates something important about how our selves and our realities are structured.’ Anya Daly on a book of essays about happiness.
Consider This: Helen Garner’s Cosmo Cosmolino
‘Helen Garner is known for her shape-shifting – or rather for her genre-shifting. She moves between fiction and non-fiction, making choices about genre in a way that might seem arbitrary to some readers, but to the close reader is most certainly not. Always up for debate is the notion that while a fine fiction writer, Garner does not write novels. This essay is an attempt to engage with this argument, using Garner’s 1992 novel Cosmo Cosmolino as its focus.’
The Mastery of π.o. Fitzroy: The Biography
What is this obsession with facts, so insistent in Fitzroy: The Biography, that their enumeration appears to be fundamental to the composition of the book? One obvious explanation would be that the foregrounding of fact dramatises the encounter with history, which after all presents itself primarily in the form of documents and testimonies. But this can’t be a full answer, first because while the outlines of the featured characters are drawn from historical sources, the facts that embellish them generally are not; and second because π.ο.’s interest in the poetic use of facts and statistics goes back decades, well before the writing of Fitzroy: The Biography.
How Many and How Much? Remembering Brian Johns
‘Anyone in the publishing department, or indeed the whole company, could put forward a publishing idea. Brian would always ask, “How many and how much?”. While Penguin always had very efficient marketing and sales departments, an essential for a successful publishing machine, Brian through his vast network of contacts could not only tap into potential authors but also do his own very personal brand of marketing by “talking his books up” in influential places.’ Bruce Sims on Brian Johns.
A Gigantically Obvious Wrong Thing: R&R by Mark Dapin
‘It’s my argument that, in dramatising and deprecating acts of direct physical violence – however menacing their perpetrators and however innocent their victims – a work such as this war novel and, perhaps by extension, many others associated with other genres in which grisly violence is central, such as horror and crime fiction, suppress the much more prevalent, far more significant instances of symbolic and structural violence that underpin and regulate our supposedly non-warring, peacetime societies.’