y separately published work icon Griffith Review periodical issue  
Alternative title: Past Perfect
Issue Details: First known date: 2024... no. 83 February 2024 of Griffith Review est. 2003- Griffith Review
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AbstractHistoryArchive Description

'The past, famously, is a foreign country – but in the twenty-first century, it’s one in which we increasingly seek solace. What fuels this love affair with recycling our history? What periods do we choose to romanticise, and how do our rose-tinted glasses occlude reality? Is all this nostalgia signifying – as the late Mark Fisher opined – the disappearance of the future? 

'In this edition, we explore the connection between loneliness, nostalgia and Big Tech and the ways nostalgia has been weaponised for political gain. 

'We revisit the heyday of advertising in the ’90s and investigate two long-standing editorial myths: have editors got worse? Do they infringe too much on the work of authors? 

'We talk with Melissa Lukashenko about the important role of historical fiction in recovering First Nations knowledges, experiences and stories, and learn from Witi Ihimaera about the ingenuity, mischief and gift for reinvention at the heart of Indigenous storytelling. 

'Griffith Review 83: Past Perfect surveys our need to idealise, sensationalise and glamorise – and asks what the circular nature of our obsessions says about our present cultural moment.' (Publication summary) 

Notes

  • Only literary material within AustLit's scope individually indexed. Other material in this issue includes:

    Nostalgia on Demand by Richard King

    James and the Giant BLEEP : Old books, bad words and the alchemical good of reading by Amber Gwynne

    The sentimentalist : Culture without the cringe : Caroline O’Donoghue and Carody Culver

    Escaping the frame Writing the story of the spider : Witi Ihimaera and Winnie Dunn

    Lines of beauty : Animating the amorality of the image : Michael Zavros and Carody Culver

    Eternal reflection by Michael Zavros

    Which way, Western artist? : Art of the past and future present by Myles McGuire

    Scarlett fever : The seven stages of Windie recovery by Melanie Myers

    From anchor to weapon : The politics of nostalgia by Michael L Ondaatje & Michael G Thompson 

    The ship, the students, the chief and the children : Defying the fossil-fuel order by David Ritter

Contents

* Contents derived from the 2024 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Time Plays Tricks : Remember, Recycle, Repeat, Carody Culver , single work essay
'It's hardly a new observation to say that everything old is new again. Nostalgia in the twenty-first century is not so much a feeling as a cultural force: TV shows and movies are now frequently set in the ’70s, ’80s and ’90s, offering exaggerated re-creations of the aesthetics that defined those eras (did my parents’ 1980s suburban living room look anywhere near as stylised as those that appear in Stranger Things or Physical?); Instagram accounts churn out memes and anecdotes that epitomise the decades in which their millennial audiences came of age; and, perhaps most confronting of all, my eighteen- year-old niece dresses exactly like the cool kids at my high school did a little more than twenty years ago.' (Introduction)
 (p. 7-8)
Always Was, Always Will Be : Reimagining Australia’s Past, Carody Culver (interviewer), single work interview

'Since she began writing in the 1990s, multi award winning Goorie author Melissa Lucashenko has been flipping the script. With grit, defiance and killer one liners, her novels relate the untold stories of Aboriginal Australians living ordinary lives. In the process, her work dismantles lazy stereotypes and exposes the realities of Australia’s colonial legacy.

'Her latest novel, Edenglassie, moves between mid nineteenth century and contemporary Brisbane to interrogate the myths of the past and explore how they’ve shaped our present. In this conversation with Griffith Review Editor Carody Culver – which has been lightly edited and condensed for clarity – Melissa reflects on the challenges and possibilities of historical fiction and the writer’s role in helping us understand who we are.' (Introduction) 

 (p. 21-28)
In the Dollhousei"I don’t remember my Barbies,", Lesh Karan , single work poetry (p. 46)
The Kiss, Melanie Cheng , single work short story (p. 47-54)
The Fall of the Madmen : How Advertising Ate Itself Jane Caro, Jane Caro , single work essay
'The Mt Buffalo Chalet was shrouded in mist all weekend. One wag quipped it clearly had a seventy-cigarette-a-day habit. The hotel in the high- lands of rural Victoria was crammed to its creaky old rafters with wags and wits that wintery weekend in 1995. It was the venue for the annual Caxton advertising awards. They were run by the newspaper industry to recognise and celebrate the best ads that had appeared in their publications that year.' 

(Introduction)          

(p. 55-61)
Nothing Ever Lasts : A More Complete Australian Story, Benjamin Law , single work essay
'It was more than a decade ago now, but I still have vivid memories of my first Sydney Writers’ Festival. I was in my twenties, and I’d arrived in Sydney as a wide-eyed debut author from the faraway exotic lands of... Queensland. And I was overwhelmed with gratitude, the kind of gratitude every first-time author feels at such an event: I was grateful to be published, grateful to be in the flashy capital of Sydney, and grateful to be programmed out of the hundreds of writers they could have picked instead.' (Introduction)
 (p. 62-67)
Cinemai"I cry in the cinema", Krissy Kneen , single work poetry (p. 68)
Glitter and Guts : Interrogating the Truth of the Past, Sharlene Allsopp , single work essay
'Right now, I am obsessed with the past. My debut novel is finished and ready for publication, and I am wrestling with the fear and insecurity that comes with writing a second. To alleviate the anxiety of unknown plot points, unfamiliar characters and structure problems, I’ve sought refuge in the past, in the familiar. I watch and rewatch beloved time-travel movies. I read and re-read dearly loved books that transport me to a previous version of myself. Sometimes I roll my eyes at the person I was. Sometimes I weep. But always I return to the past to understand my present.' (Introduction)           
 (p. 69-75)
The Green Gold Grassy Hills, Fiona Kelly McGregor , single work short story (p. 87-91)
Pentax ME Superi"The first roll I developed,", Alisha Brown , single work poetry (p. 92)
The Emperor’s Twini"In the absence of gods, must we choose monsters?", Graham Kershaw , single work poetry (p. 120)
Anticipating Enchantment : The Myth of Editorial Perfection and the Legend of the Solo Author, Alice Grundy , single work essay
'Telling a stranger that you are a book editor normally results in one of two responses. Either you’ll be told that editing has deteriorated – whether in the past five or fifty years depends on your interlocutor. Or the charge is that editors intervene too much, their contribution a sort of con job perpetrated on unsuspecting readers. Both responses are characterised as a symptom of the evils of capitalism: either there is no money for proper editing anymore, or books are being smooshed into more marketable boxes. Some claim that there is no proper editing because they’ve found typos or misused words and phrases in contemporary books. Others hold that editorial interventions are extreme and endanger the concept of authorship.' (Introduction)
 (p. 134-141)
Lost Decade, Lucy Robin , single work short story (p. 154-160)
Thresholdi"The old country is disappearing,", Eileen Chong , single work poetry (p. 161)
Farming Futures : Views from the Millewa-Mallee, Past and Present, Melinda Hinkson , single work essay
'Following one of many trips to attend the Mildura Writers Festival, Les Murray penned ‘Asparagus Bones’. Published in 1998, the poem recounts a memorable late-afternoon winter’s drive across the north-western Victorian hinterland in the company of his friend, celebrated restaurateur Stefano de Pieri. As daylight ‘softened into blusher’, they arrived at a farm where his friend let himself in and fetched a box of ‘fossil bones’, asparagus, from a coolroom. The two of them then discussed how unlocked farm doors are ‘emblems of a good society’.' (Introduction)
 (p. 162-172)
Mildew on the Whiteness of Hölderlini"Mildew on the whiteness of Hölderlin’s", John Kinsella , single work poetry (p. 181)
Walking through the Mou(r)n(ing of A)tain(ted Life) : Reflections of the Lost, Beau Windon , single work essay (p. 182-190)
Things Come Togetheri"It only takes a note, a few lines penned on a card, and the whole thing", Audrey Molloy , single work poetry (p. 191)
Apocalypse, Then?, Jake Dean , single work short story (p. 192-202)
Exeunti"Taxi hoots.", Mark O'Flynn , single work poetry (p. 203)
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Works about this Work

Time Plays Tricks : Remember, Recycle, Repeat Carody Culver , 2024 single work essay
— Appears in: Griffith Review , February no. 83 2024; (p. 7-8) 'It's hardly a new observation to say that everything old is new again. Nostalgia in the twenty-first century is not so much a feeling as a cultural force: TV shows and movies are now frequently set in the ’70s, ’80s and ’90s, offering exaggerated re-creations of the aesthetics that defined those eras (did my parents’ 1980s suburban living room look anywhere near as stylised as those that appear in Stranger Things or Physical?); Instagram accounts churn out memes and anecdotes that epitomise the decades in which their millennial audiences came of age; and, perhaps most confronting of all, my eighteen- year-old niece dresses exactly like the cool kids at my high school did a little more than twenty years ago.' (Introduction)
Time Plays Tricks : Remember, Recycle, Repeat Carody Culver , 2024 single work essay
— Appears in: Griffith Review , February no. 83 2024; (p. 7-8) 'It's hardly a new observation to say that everything old is new again. Nostalgia in the twenty-first century is not so much a feeling as a cultural force: TV shows and movies are now frequently set in the ’70s, ’80s and ’90s, offering exaggerated re-creations of the aesthetics that defined those eras (did my parents’ 1980s suburban living room look anywhere near as stylised as those that appear in Stranger Things or Physical?); Instagram accounts churn out memes and anecdotes that epitomise the decades in which their millennial audiences came of age; and, perhaps most confronting of all, my eighteen- year-old niece dresses exactly like the cool kids at my high school did a little more than twenty years ago.' (Introduction)
VIEW ALL WORKS ABOUT (1)
Last amended 30 Apr 2024 10:52:30
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