Cirrus@Austlit

'In early August, deep in the winter of Melbourne’s stage-four discontent, journalist Rachel Baxendale became the story. The Victorian political reporter for The Australian newspaper was attacked online for questioning Premier Daniel Andrews on his government’s hotel quarantine program, as an explosion of new coronavirus infections caused unprecedented economic shutdown and the curtailment of civil liberties. As thousands of people watched the premier’s live press briefings from their living rooms, Baxendale assiduously probed Andrews about the use of security guards instead of Australian Defence Force personnel to guard returned travellers.' (Introduction)

'Gail Jones’s new novel, Our Shadows, provides readers with another virtuoso performance, showing a writer fully in control of her medium. It is a poetic and beautifully crafted evocation of shadowy pasts whose traumatic effects (in the world and in individual lives) stretch deep into the present and the future.'

'Malcolm Knox told Kill Your Darlings in 2012 that with The Life (2011), his celebrated surfing novel set on the Gold Coast, he wanted to write a historical novel about the Australian coastline and ‘that moment when one person could live right on the coast on our most treasured waterfront places, and then all of a sudden they couldn’t’. In Bluebird, set on a northern beach a ferry ride from ‘Ocean City’, this brutally undemocratic transformation is promoted from a minor theme to the engine that drives the highbrow soap-opera narrative.' (Introduction)

'In perhaps the most tender story in this textured, interconnected collection, an adolescent son spends the summer sunbathing in the backyard and sneaking glances at the paperboy while his working-class, stay-at-home father, who reads detective fiction and likes to ‘figure things out before the endings’, gently attempts to make it known to his son that he can tell him anything.' (Introduction)

'Miles Franklin used to delight in relating an anecdote about a librarian friend who, when asked why a less competent colleague was paid more, replied succinctly: ‘He has the genital organs of the male; they’re not used in library work, but men are paid more for having them.’' (Introduction)

'Eddie Jaku looks out benevolently from his memoir’s cover, signs of living etched across his face. The dapper centenarian displays another mark, one distinctly at odds with his beatific expression and the title’s claim: the tattoo on his forearm from Auschwitz II-Birkenau. Less discernible is the badge affixed to his lapel bearing the Hebrew word zachor; ‘remember’. The Happiest Man on Earth blazes with the pursuit of memory, of bearing witness, but it is also determinedly oriented towards the future, its dedication inscribed to ‘future generations’.' (Introduction)

'In the garden of a hotel twenty minutes from Yogyakarta, a group of hopeful, middle-aged Westerners gyrate anxiously to the strains of LaBelle’s greatest hit. Unlike their young Balinese instructor, they are fighting a losing battle. Why bother? Robert Dessaix wonders. Next morning, his travelling companion answers in her husky smoker’s growl, ‘It’s death they’re afraid of – or at least dying.’'  (Introduction)

'Melburnians above a certain age will remember Coles in Bourke Street. Unknown to most of them, it stood on the site of another Coles, Cole’s Book Arcade, for half a century probably the most famous shop in Australia. Its founder, Edward William Cole, is now the subject of an engaging biography by Richard Broinowski.' (Introduction)

'‘It is necessary in each situation,’ Jacques Derrida stated in 2007, in one of many instances of writing on writing, ‘to create an appropriate mode of exposition … to take into account the presumed or desired addressee.’ This was the phenomenon I sought while reading Susan Lever’s book on screenwriting for Australian television drama.' (Introduction)

'Until recently, Australian prose poetry hasn’t attracted much attention – we’re not sure why. Having written prose poetry for years, we’re both fascinated by the form, which can be loosely defined as poems written in paragraphs and sentences rather than in stanzas and lines.' (Introduction)

'Change Machine is an exceptionally strong third collection. To the extent that a schematic of thesis–antithesis– synthesis applies to poets’ books, this one both exceeds and incorporates the work that came before.' (Introduction)

'‘Even if truth be drawn from the work,’ writes Maurice Blanchot, ‘the work overruns it, takes it back into itself to bury and hide it.’ This strange, poetic movement to conceal what is manifest brings to mind another statement, by the psychiatrist and author Judith Herman: ‘The conflict between the will to deny horrible events and the will to proclaim them aloud is the central dialectic of psychological trauma.’' (Introduction)

'On May Day 1955, two years after his death, a colossal memorial to Joseph Stalin was unveiled on a prominent site north of central. Towering above the city and containing 14,000 tons of granite, it was the largest statue of the dictator ever created. Stalin was depicted at the head of a representative group of citizens, dubbed by some as a bread queue. Otakar Švec, a prominent Czech sculptor, had won the commission in 1949. After the work’s stressful gestation, he killed himself shortly before the work was unveiled; there had been constant interference and police surveillance, and his wife committed suicide in 1954.' (Introduction)