'Welcome to the March issue of ABR. We examine everything from the new National Cultural Policy to Volodymyr Zelensky, Shirley Hazzard, First Nations incarceration, infidelity, exciting new fiction, machines behaving badly, TÁR, the young Robert Menzies, women’s cricket and much more. And while Australia is now set to receive its own Poet Laureate, ABR continues its longstanding commitment to the form, publishing four new poems and reviewing four verse collections.' (Publication summary)
'Welcome to the March issue of ABR. We examine everything from the new National Cultural Policy to Volodymyr Zelensky, Shirley Hazzard, First Nations incarceration, infidelity, exciting new fiction, machines behaving badly, TÁR, the young Robert Menzies, women’s cricket and much more. And while Australia is now set to receive its own Poet Laureate, ABR continues its longstanding commitment to the form, publishing four new poems and reviewing four verse collections.' (Introduction)
'Robert Menzies retired as prime minister more than fifty-three years ago and died in 1978, yet he remains not just a dominant figure in Australian political history but a strong influence on modern political affairs. As Zachary Gorman, editor of this latest book on Menzies, argues, ‘it has become almost a cliché to say that he built or at least shaped and moulded modern Australia’. He created the Liberal Party that has governed Australia for fifty of the past seventy-three years, and modern Liberal politicians still draw on Menzies’ ideals.' (Introduction)
'Shirley Hazzard challenged Auden’s line that poetry makes nothing happen. In her case, she said, poetry made everything happen. It was because she learned Italian as a teenager in order to read Leopardi in the original that she was sent, aged twenty-six, by the United Nations, to Italy, where she wrote ‘Harold’, the story about the awkward young poet that was published in the New Yorker in 1960, after which ‘everything changed’.' (Introduction)
'I hear that those new people have decided to have books in their library,’ remarked Edith Wharton disdainfully. That put-down, from an eminent novelist and book lover who was also a wealthy member of upper-class New York society, was delivered without ambiguity in the 1920s. The ‘new people’ were using books as interior decoration. They would never disturb the display of handsome volumes in their unused library by taking one from the shelf. Could they even read? Probably not, Wharton thought: they had been too busy making money.' (Introduction)
'An early-morning jogger. An alleyway. A young woman’s mutilated body. A set-up familiar enough to warrant its own Television Tropes category (‘Jogger Finds Death’). Yet before catching sight of the latter-day Black Dahlia being pecked at by ibises somewhere off Enmore Road, unlucky passer-by Reagan Carsen is caught in a spider’s web: a simple but effective visual metaphor for the wider web that connects her to the first victim of the fictional ‘Sydney Dahlia’ serial killings.' (Introduction)
'In the early sixteenth century, the Italian Renaissance poet and philosopher Giulio Camillo conceived an imaginary structure for universal knowledge named The Theatre of Memory; essentially a classical amphitheatre that inverted the position of spectator and stage, turning the auditorium into a tiered structure that fanned into rows of encyclopedic knowledge. Imants Tillers makes no mention of Camillo’s theatre in his anthology of essays, Credo, but the structure could be a parallel schema for his own expansive project The Book of Power – an ongoing inventory of all the canvas board panels Tillers has painted since 1981, which totalled 102,663 by 2018.' (Introduction)
'Uwe Radok was born in 1916 in East Prussia to a family of Christian converts who identified as German Protestant. Nevertheless, after the Nazis came to power in Germany, the Radoks were classified as Jews – their five children Mischlinge, of mixed ancestry. In 1938, the family applied to emigrate to Australia. When their visas finally arrived in August 1939, it was too late.' (Introduction)
'Barry Scott is the publisher at Transit Lounge, an independent press he started with fellow librarian Tess Rice in 2005. He has worked in literary programming, been the recipient of an arts management residency in India and a Copyright Agency grant to research small press publishing in the United States. Beginning with an emphasis on writing about other cultures, particularly Asia, Transit Lounge is now focused on publishing an eclectic mix of Australian literary fiction and non-fiction.' (Introduction)
'Since first being produced at Sydney’s Griffin Theatre in 2019, Suzie Miller’s play Prima Facie – a legal drama about consent and sexual violence – has become something of a phenomenon. Awarded Griffin Theatre’s playwriting prize in 2018, the subsequent production was enthusiastically received by audiences and critics alike. A 2022 West End production – propelled by the star power of Killing Eve’s Jodie Comer – garnered international acclaim, the National Theatre’s live screening of the production becoming one of 2022’s highest grossing British films. In 2023, the West End production moves to Broadway, while in Melbourne, the Melbourne Theatre Company’s six-week remounting of the original Griffin production – the production reviewed here – sold out before its first performance. If that wasn’t enough, a screen adaptation of the play is in the works, so too a novel, both helmed by Miller.' (Introduction)
