Non-fiction

Rowe brings remarkable discernment as she notices what Farmer notices, abstract and concrete – death, insect morphology, marine life – all ‘egalitarian in the designation of worthiness.’ She does so with deference to Farmer’s intense lyricism and with appropriate essayistic economy.

Pity the poor writer whose fate is to be harried with opportunities and accolades. Erpenbeck’s deadpan portrayal of herself as a passive yet accommodating figure, somewhat nonplussed by the attention, makes a substantial claim.

The Morals of the Market confronts the modern high priests of economic theology with the ruin wrought under the banners of their speculation.

But Latour’s version of politics means not treating non-human agents as mere externalities, as in, we used to think that the weather had nothing to do with politics. But now the changing weather, reacting to what we have done with carbon, is a revolutionary agent. It is arguably the most important political actor of the last few decades, in that we can’t afford not to calculate its effects: bringing down national leaders, changing voting patterns, defunding scientific expertise and the arts, everything.

Truganini was the last First Nations Tasmanian with no European ancestry to die. It is a terrible reason to be famous, and Pybus argues that ‘Australians should know about how she lived, not simply that she died.’ How Truganini lived tells us a great deal about the transactions, trades and outright thefts through which British settlers took possession of the territory they called Australia.

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.

That the unit of the individual is too small to enact political transformation is the simple wager that Jodi Dean uses to open Comrade. It is a work of political theory that is well-timed, as neoliberal states have failed their citizens en masse and ideas such as solidarity and mutual aid have threatened to go mainstream in the West.

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.

These letters may refuse the methodological stringency of academic literary criticism, but beyond some epistolary scaffolding (an addressee, a conversational tone, questions answered or posed) they are largely close textual analyses performed by astute readers with comp lit bona fides and early-career positions at Yale, Princeton and Oxford.

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.