Anna Clark

It seems we are living through a near perfect storm of Anzac historical consumption, with a number of factors working in concert. First, Australian historical narratives have been deeply challenged by the emergence and power of Indigenous historical perspectives, especially since the 1970s and 1980s. Australia’s ‘origin story’, once characterised by discovery, nascent democracy and workers’ rights, has been powerfully reimagined by Indigenous writers and rights activists as a narrative of invasion and dispossession.’

The recent skirmishes over the meaning of Anzac Day and the implementation of the national history curriculum suggest that Forgotten War is unlikely to dampen the flames of historiographical contest. But Reynolds claims that Nicholas Clements’ Black War: Fear, Sex and Resistance in Tasmania will do just that. In contrast to Reynolds’ overview of the frontier wars, Clements has chosen just one — Tasmania’s ‘Black War’ — and has reached deep into the archives to produce a painstakingly researched social history of this episodic conflict.

‘One surprisingly persistent theme in Making Australian History is the historical significance of literature, and in particular poetry. Can a poem ‘know’ something, ‘think’ something that history cannot?’