Heinemann

The play of mirror images in this new work of Thea Astley is quite dazzling. She goes from strength to strength in her command of the crafts of narrative. The book is an enquiry into escape, not just any escape, but escape in an almost metaphysical dimension, in which losing oneself is the only way to find oneself. The novel appears to divide into two novellas, linked by the appearance of the villain, and I use the term advisedly, in both. However the two stories are so closely linked in theme, in motifs and in structure, that they are more like twin pictures that form a diptych.

Like Manning Clark, Blainey sees history as a story of progress in which Western civilisation develops from a kind of primal baseline. But the dynamic force which drives events in Blainey’s history is more tangible-more material-than in Clark’s. As Blainey himself explains, he regards technology and economics as being far more important agents of change than politics. He locates the origins of modem industrial culture in the Middle East, at that moment when hunter-gatherers first settled in villages and began systematic farming. This neolithic revolution, says Blainey, was more significant to human development than the beginning of the industrial revolution: ‘It led to the collection of taxes, the rise of powerful rulers and priests, to the creation of armies larger than any previously known.’ As this revolution gradually spread into Europe, America and Asia, new societies ‘blossomed and bloomed’ because an increasing proportion of their populations was freed from food production to pursue other activities. They were free to write, think, scheme and invent things.

There’s a lot to be said for plain writing for writing in such a way that the reader is nudged along through nuance and observation to perception. Plain writing tends to make the reader feel as if they too are watching impassively what the writer sees. It’s a little like standing in shallow water, not noticing the tide coming in. Plain writing involves the reader; any shocks, or passions, come from within the story not from the use of highly coloured words or manipulative tricks.

There used to be a saying: Penny plain; twopence coloured. It came from the sale of cardboard prints in a London toyshop. The uncoloured prints were considered inferior, less exciting. They left too much to the imagination.

Some of the narrators of Gerald Murnane’s novels and stories tend to view oceans and coastlines with the fear and loathing of flat earth believers. Just the whiff of the sea breeze is enough to spoil the day for them, the grit and the glare of sun-touched sand distresses them and they speak with contempt of the ‘idiot noise’ of the sea and of those who swim and play in the waves and on the beaches. Seaside holidays, they imply, are for frivolous people stupidly turning a blind eye to the ocean’s treachery – its dark moods, its black holes, and its sinister capacity to gnaw at and dissolve something as solid as rock.

Randolph Stow’s latest novel, The Suburbs of Hell, may be read as a simple whodunit: a simple allegorical Whodunit. Like Umberto Eco’s The Name of the Rose, like David Lodge’s Small World, this novel sets out to intrigue the reader. The new genre, nouvelle critique, teases the reader’s vanity, the reader’s erudition at the same time as it engages with questions of a metaphysical kind – the nature of truth, reality, and for those concerned with literature – the purpose of writing today.

Words and Images is a valuable contribution to the rapidly growing body of work on Australian film culture and a welcome addition to the relatively small collection of volumes dealing with the film-literature connection. As McFarlane notes there is not, as yet, a ‘definitive work’ on the art of adaptation, though George Bluestone’s Novels into Film (1957) established a fairly solid base for others working in this area. McFarlane’s acknowledged indebtedness to Bluestone is most evident in the method he adopts in order to examine individual adaptations. Essentially it is one of determining and exploring changes to texts, that is, the major alterations and manipulations which take place in the process of adapting a narrative from one medium to another.

‘I wrote this book to show what dogs can do’, writes Archimedes the red setter in the preface to his book, and what follows are the experiences, observations, and reflections of a dog both ordinary and extraordinary. Archimedes’ physical life is constrained by his ‘employment’ with the Guests, an average Sydney suburban family – father, mother, and three children. He is taken for walks – the dog laws make unaccompanied walks too dangerous, he leaves his ‘messages’ in appropriate places, he knows the electricity poles intimately, and the dogs in his territory, Lazy Bill, Princess, Old Sorrowful Eyes, and Victor the bulldog.