An incomplete tribute that may please some Hazzard fans but leave others adrift.
A Sri Lankan–born Australian novelist offers a brief paean to a much-admired fellow Australian writer.
De Kretser (The Life To Come, 2017, etc.), who moved to Australia with her family in 1972, fell in love with the novels of Shirley Hazzard (1931-2016) because they “spoke of places from which I had come and places to which I longed to go.” They also offered a view of Australia that was cleareyed about such problems as sexism and racial prejudice, which helped the author come to terms with living as an Asian woman in a white-dominated country. Moreover, Hazzard’s novels revealed a deep engagement with history and especially imperialism, a topic with which de Kretser was intimately acquainted. Hazzard was also a keen craftsperson who “read her work aloud to herself to get the rhythms right” and consciously sought to create high literary art. De Kretser writes that “movement of poetry infiltrates [Hazzard’s] prose,” and she offers examples from various, often unnamed, novels of the “precision, swiftness [and] taste for compassion” with which Hazzard used adjectives, described places and characters, and expressed political views. De Kretser’s book is strongest in its very personal, often moving appreciation for Hazzard’s work. As literary criticism, the narrative is flawed. De Kretser provides only bits and pieces about Hazzard’s life and brief reflections about important novels like The Bay of Noon, which was shortlisted for the Lost Man Booker Prize in 2010, and The Great Fire, which won the 2003 National Book Award. She offers little biographical, historical, critical, social, or political details and no cited references that would help those not already acquainted with Hazzard and/or Australian 20th-century literature more deeply appreciate this important novelist. As a result, the book reads more like a disconnected collection of poignant private musings than a text meant to educate readers who might be interested in exploring Hazzard’s life and work.
An incomplete tribute that may please some Hazzard fans but leave others adrift.Pub Date: March 10, 2020
ISBN: 978-1-948226-82-0
Page Count: 112
Publisher: Catapult
Review Posted Online: Dec. 7, 2019
Kirkus Reviews Issue: Jan. 1, 2020
An informed and gloomy appraisal of the prospects for democracy in Russia from the longtime Moscow corespondent of the (Manchester) Guardian, who concludes that the present political system may be one of the many revolutions from above in Russian history that end in failure. Steele (Andropov in Power, 1983, etc.) derives his conclusion both from Russian history and from his own experiences as a correspondent. He makes the telling observation that, when Yeltsin stood on a tank to proclaim his resistance to the attempted coup in 1991, the crowd that applauded him was fewer than 200 in number; only when the coup was safely over did huge crowds emerge. The coup failed, Steele says, not because of mass resistance but because the plotters lost their nerve and the Army commanders split. Nor is he impressed by the ability of Russians to run a democratic system. Yeltsin's contempt for the Supreme Soviet—the majority of which originally supported him—was such that he refused for almost a year to appear before it or to meet with its leaders. He believes that Yeltsin deliberately provoked the hard-line faction in the Parliament into an injudicious response, which gave him an excuse to use the Army. Yeltsin also manipulated the constitutional referendum held at the same time as the election in 1993 to prevent opposition to its approval and to increase his own power. Steele's conclusions are not entirely pessimistic: He believes that considerable freedom has already been established and that the gains that have been made cannot be entirely reversed. Overall, however, he sees Russia as a ``society without law'' and he questions whether the country will not take ``a long time to evolve towards genuine democracy, if ever.'' Steele is better on contemporary events than on history, and better on politics than on society at large, but his deep knowledge of Russia over the last three decades gives his conclusions great and worrisome authority.
Pub Date: Sept. 1, 1994
ISBN: 0-674-26837-7
Page Count: 448
Publisher: Harvard Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1994
The much celebrated master of nonfiction works his magic on Macbeth, using the ingredients of a mere monograph to conjure a vision of politics, theology, and theatrical practice in King James's England. Wills, winner of a Pulitzer Prize and a National Book Critics Circle Award for Lincoln at Gettysburg (1992), argues that Shakespeare's Macbeth should be understood in the context of the contemporaneous Gunpowder Plot of 1605. This attempt to blow up England's king and Parliament gripped the British imagination then much as the Red Menace and the assassinations of the 1960s dominated postwar American consciousness. Wills frames his examination of Macbeth with such parallels. The heart of his book, which grew out of lectures given at the New York Public Library, shows how the play bristles with the ideology prevalent in the Plot's aftermath, when King James and his spokesmen condemned the Jesuit-led rebellion using metaphors of witchcraft. Wills juxtaposes close readings of the play's language, imagery, and stage history with details of the Plot's representation in propaganda and popular culture. Shakespeare's famous witches take center stage as Wills shows how they draw the regicide Macbeth into their circle. Explicating Shakespeare's demonization of verbal ``equivocation,'' purported to be the Jesuitical method for dissembling in an unfriendly realm, Wills forges a new understanding of the play's second half. He justifies its attentions to the witch Hecate and to the Scottish prince Malcolm as crucial to Shakespeare's exploration of rituals of truth in demonology and kingship. Envisioning Macbeth as an integrated rhetorical presentation of a theological politics, Wills hopes, will enable us to once again find theatrical power in the whole play—especially given the neat conjunction of England's 160506 crisis with our contemporary obsessions about plots and princes. Wills's latest essay portends a renewed Macbeth for the theater; his critical performance, meanwhile, manifests the power of literary criticism that is simultaneously scholarly and popular.
Pub Date: Oct. 1, 1994
ISBN: 0-19-508879-4
Page Count: 208
Publisher: Oxford Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1994
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