Palgrave Macmillan

Thirty-two years since his death, Colin Clark (1905–89) remains an obscure name in Australia and the discipline of economics. This relative anonymity may strike those who know of his academic achievements as odd, even unjust, as Clark was an outspoken and occasionally brilliant intellectual. A protégé (and later apostate) of John Maynard Keynes, a British Labour party candidate for South Norfolk, a Queensland state statistician, and a scholar at Cambridge, Monash, Oxford, and Queensland, the British-born Clark was a pioneer of national accounting and made numerous contributions to various fields of economics. These were tempered, however, by his ideological conservatism, peripatetic employment, and uneven record of economic forecasting.

In its interrogation and negotiation of contemporary theoretical frameworks and practices at the core of the Italian–Australian migration complex, Francesco Ricatti’s comprehensive study offers a fresh and lucid understanding of the interrelation of core issues and processes affecting ...

In an address to the National Prayer Breakfast (8 February 2018), President Donald Trump called the United States a ‘nation of believers’. As evidence, he reminded his audience that the American currency includes the phrase ‘In God We Trust’ and that the Pledge of Allegiance is ‘under God’ ...

The legendary Dylan has now been dead for a century and his fumy glitter has probably faded a little. But then, how far do any poets these days really have glamour to show for themselves, no matter how hard they drink? Very few, in the Anglophone world at least: there’s nobody around like Wales’s roaring boy.

Shakespeare was commonly regarded by his Romantic admirers as a solitary figure, whose prodigious talents were linked in some mysterious fashion to his isolation from society and from his fellow writers. ‘Shakespeare,’ wrote Coleridge in 1834, ‘is of no age – nor, I might add, of any religion, or party, or profession. The body and substance of his works came out of the unfathomable substance of his own oceanic mind.’ Carlyle thought likewise; Shakespeare, he believed, dwelt ‘apart, in a kind of royal solitude; none equal, none second’ to his creative powers.

The main aim of this book, which is written by a philosopher for other philosophers, is to take them to task for their failings. As Andrew Gleeson writes in his preface, ‘overall the book is a case study in the dissociation of a certain way of doing philosophy from its subject matter’.

In a world punctuated by civil and global conflict, it seems almost quaint to promote peace as a weapon of choice. Even in more progressive quarters, an explicit identification with pacifism seems to evoke nostalgia for a time when the enemy was obvious and the mission supposedly self-evident. But in recent decades the threat has become more nebulous, as has the relationship between defence, government, and the arms industry. Ideological differences, rather than territorial disputes, are much harder to resolve. A drone strike, regardless of its intended specificity, will always incur – to borrow from army parlance – a significant amount of ‘collateral damage’.

The myth of the vampire entered into European literature as a Byronic hero of the Romantic era. This attractive but evil character appears to have shifted from peasant folklore into the written culture at the same time that Lady Caroline Lamb described Byron as ‘mad, bad and dangerous to know’. That would be a perfect description for the classical vampire. Although the demonic figure that lives on blood has an ancient pedigree, it is significant that the modern vampire, the one we are familiar with, is parasitic on Christian mythology. The paraphernalia to ward off vampires are such as to give comfort that ultimately the evil of the vampire is powerless against the Good of the Christ. That evil is of central importance to the myth. The vampire is an erotic dream of the desires forbidden by Christian taboos. In most cases the taboo can read as a fear of disease, especially sexually transmitted diseases. In the nineteenth century, this fear of such diseases as syphilis and ‘consumption’ (tuberculosis) was unspoken, but expressed as metaphor. The three classic texts from which most vampirology derives – Polidori’s The Vampyre (1819), Sheridan Le Fanu’s Carmilla (1872), and Bram Stoker’s Dracula (1897) – are all essentially Christian, and erotic, in their symbolism. The descriptions of the symptoms of those infected by the vampire were very familiar to the readers of the day. So for nigh on two hundred years the vampire has roamed our nights striking fear but, at the same time, instilling desire.

A famous Polish communist foreign correspondent? It sounds like a contradiction in terms, but actually Ryszard Kapuściński did achieve international fame towards the end of the Cold War, after a highly successful career covering the Third World for leading media in the People’s Republic of Poland from the 1950s. Africa and, later, Latin America were his specialties; he was an enthusiast for decolonising liberation movements and an admirer of Che Guevara, Patrice Lumumba, and the French-Algerian theorist Frantz Fanon. 

Barry Forshaw, in his latest book, has turned from crime fiction in print to crime in the cinema: specifically British cinema. He establishes immediately that his primary interest is ‘genre cinema’. He does not define exactly what he means by this term, but his assumptions in relation to it are soon pretty clear. A genre film is one where the primary aim of the film-makers is ‘entertainment’ rather than any deeper aesthetic or ideological intent.