Books

Why you should revisit the classics, even if you were turned off them at school

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/johanna-harris-305384">Johanna Harris</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Throughout my school years I had an exuberant, elderly piano teacher, Miss Hazel. She was one of five daughters (like me) and, like many young women of her generation, had never married her sweetheart because he did not return from the war. Her unabashed gusto for life and infectious, positive outlook left an indelible impression upon me. So too did the memorable fact that Miss Hazel read Jane Austen’s <a href="https://www.goodreads.com/book/show/84979.Pride_and_Prejudice">Pride and Prejudice</a> from beginning to end once every year. As a younger girl I wondered about the ways Pride and Prejudice could be so important to a woman in her eighties that she would want to read it annually. Was it to do with Austen’s depiction of a family with five daughters, or to relive an endearing love story? Since those years I have seen, more through lived experience than through academic study, just how deeply meaningful the reading of classic books, like Pride and Prejudice, can be. <figure class="align-left zoomable"></figure> I no longer simply read this book for Elizabeth Bennett’s love story, but for the finely crafted replication Austen gives us of human character, with all its flaws. Hers are imaginary yet imaginably real situations, all depicted with humour and a sensitively calibrated dose of sympathy for even the most unlikeable literary figures. The clergyman Mr Collins, Elizabeth’s distant cousin and her rejected suitor, was always repellent for his obsequiousness but I see more readily now his self-serving nature cloaked in altruism. The haughty snobbery of Darcy’s aristocratic aunt, Lady Catherine de Bourgh, hints at a deeper layer of sadness and fragility only rereading can illuminate. <h2>Box-ticking and speed</h2> When we’re at school or university we may read for speed. I remember managing my reading of Ann Radcliffe’s 432-page gothic romance <a href="https://www.goodreads.com/book/show/93135.The_Romance_of_the_Forest?from_search=true&from_srp=true&qid=oU6912stkW&rank=1">The Romance of the Forest</a> to work out how many pages per hour I would need to read across a weekend in order to finish the novel before my university tutorial. (It was an ungodly ratio and I don’t recall much of the novel.) <figure class="align-right zoomable"></figure> Or we may read for the tick-box exercise of writing for assessment requirements: accumulating knowledge of a novel’s original metaphors, descriptions that best capture a prescribed theme (“belonging” or “identity”), or of poetry by which we can demonstrate a grasp of innovative metre. But how and why do we reread classic books, when we are not constrained by class plans or prescribed exam themes. And why should we? <h2>‘Like a graft to a tree’</h2> Rebecca Mead’s <a href="https://www.goodreads.com/book/show/20924311-the-road-to-middlemarch?from_search=true&from_srp=true&qid=Cm2E7fwgeL&rank=1">The Road to Middlemarch</a> offers a compelling exploration of one writer’s five-yearly revisitation of George Eliot’s masterpiece, <a href="https://www.goodreads.com/book/show/19089.Middlemarch?from_search=true&from_srp=true&qid=CRcxE3ftkB&rank=1">Middlemarch</a>. Mead first read the novel at school, and Eliot’s subtitle to the novel, “A Study of Provincial Life”, captured precisely what Mead was trying to escape at that time: provinciality. Eliot’s central character, Dorothea Brooke, captivated Mead as an unconventional intellectual heroine yearning for a life of meaning and significance. Mead marked out important moments with a fluorescent pen, such as when the intellectual and spiritual inadequacies of Dorothea’s husband, <a href="https://www.britannica.com/topic/Edward-Casaubon">Casaubon</a>, dawn upon her. Mead writes, quoting Eliot: <blockquote> ‘Now when she looked steadily at her husband’s failure, still more at his possible consciousness of failure, she seemed to be looking along the one track where duty became tenderness […]’ These seemed like things worth holding on to. The book was reading me, as I was reading it. </blockquote> <figure class="align-left zoomable"></figure> This idea of books “reading us” can sound like an odd animism. But books can prompt us to reflect on our own lives, too. Eliot makes Middlemarch almost compulsory to reread later in life: the idealism of youth captures the young reader, while the novel’s humour becomes more sympathetic as we age. To reread a novel like Middlemarch is to trace the ways we too have experienced idealism turn to illusion, or have seen the restless pursuit of change turn to a retrospective gratitude and a recognition of grace. Our ability to acknowledge new depths of meaning in our own lives and to recognise within ourselves a subtler sympathy for the lives of others can be articulated almost as precisely as lived experience itself. As Mead says, “There are books that grow with the reader as the reader grows, like a graft to a tree.” <h2>Feeling for Lear</h2> The same can be said of Shakespeare. As young readers, we won’t necessarily capture the full vision <a href="https://www.goodreads.com/book/show/12938.King_Lear?from_search=true&from_srp=true&qid=nowKY1f5aB&rank=1">King Lear</a> offers us of the tragicomic paradoxes sometimes presented by old age. The play depicts the loss of power and control over one’s life and decision-making, the tender fragility of family relationships when the care of aged parents is suddenly an urgent question and the madness that can prevail when an inheritance is at stake. <figure class="align-right zoomable"></figure> Some of these things might abstractly be understood when taught to us in the classroom, but they are far more powerfully seen when revisited after we have lived a little more of that imaginably real life ourselves. As students we might have squirmed with discomfort at the literal blinding of Lear’s loyal subject the Earl of Gloucester (the horror of witnessing a visceral, grotesque injury). But as we age it is the tragedy of moral blindness that lingers, making the final scene so extraordinarily moving: “Do you see this? Look on her. Look, her lips. Look there, look there,” Lear pleads, as if to say that Cordelia, lifeless in his arms, still breathes. Does he really see her lips quiver? Does he really believe she lives? Is this some consolation with which he dies or is it delusion? Lear’s heart is broken. So is mine. Each time I revisit this final scene, the grief of Lear as a father is profoundly felt, but my heart is broken even more so by his continuing blindness; his vision (what he thinks he sees) is desperate, untrue, and ultimately meaningless. <h2>Sites of discovery</h2> When we read we inhabit imaginary worlds and each time the reading can be different. Philip Davis, a professor of literature and psychology <a href="https://global.oup.com/academic/product/reading-and-the-reader-9780199683185?cc=au&lang=en&">has written</a>, <blockquote> Rereading is important in checking and refreshing that sense of meaning, as the reader goes back and re-enters the precise language once again. </blockquote> Davis points to an idea advanced by the novelist and philosopher Iris Murdoch, of the reader’s collection of special, memorable fragments, which serve as metaphors for the reader’s self-utterances, developed over time. These are “nascent sites for thinking and re-centring”. This is a similar idea to the novelist and journalist Italo Calvino’s description in <a href="https://www.goodreads.com/book/show/9814.Why_Read_the_Classics_?from_search=true&from_srp=true&qid=RALd1Dx5a9&rank=1">Why Read the Classics?</a> of the way classic books “imprint themselves on our imagination as unforgettable” and “hide in the layers of memory disguised as the individual’s or the collective unconscious.” Works of imaginative literature are not manuals for life, though they might along the way gift us with some wisdom; they are sites of discovery and rediscovery. The classic works we are introduced to at school may establish such sites for thinking about ourselves and others, but it is in rereading them as we grow older that we can better see the ways we have grown as imaginative, moral beings.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/246147/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/johanna-harris-305384">Johanna Harris</a>, Associate Professor, Literature, Western Civilisation Program, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/why-you-should-revisit-the-classics-even-if-you-were-turned-off-them-at-school-246147">original article</a>. </div>

Books

Readers response: Are there any celebrity biographies or memoirs you’ve read and loved?

We asked our reader if there are there any celebrity biographies or memoirs they have read and loved, and the response was overwhelming. Here's what they said. Sarah Hayse-Gregson - I have read so many, I just loved them all. The one that gave me a fit of the giggles was David Niven’s Bring on the Empty Horses. Marie Jones - Jimmy Barnes, what a life. Lorraine Henshaw - Sidney Poitier. I loved him! Michelle Carr - John Farnham, Jelena Dokic, Tina Turner. Margaret Hosking - Poirot and Me by David Suchet, and Margot Fonteyn: A Life by Meredith Daneman. Both excellent!! Janet Courtney - Sister Vivian Bullwinkle who survived being shot by the Japanese on Banka Island during WWII and being taken as a POW. Lindy Joso Kolega - Ahn Do, The Happiest Refugee. Val Goodwin - David Niven, The Moon's A Balloon. Lorraine Masters - Clark Gable, Kamahl, JOK, Sarah Henderson, Debbie Reynolds.....just name a few. I love biographies. Christine Conforth - Keith Richard’s was interesting. Image credits: Shutterstock

Books

Australians are reading less than other countries, a new report shows. Why?

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/katya-johanson-425719">Katya Johanson</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a> Recent international research shows Australians are buying and reading fewer books than people in many other countries. But why? A <a href="https://risebookselling.eu/consumer-behaviour">report</a> by the European and International Book Federation found that only 64% of Australians bought a book in the past year, compared to an average 72% of people across 19 countries. Similarly, 80% of Australians read a book in the past year, slightly below the international average of 85%. These differences are slim, but as book buyers and readers, we are among the lowest in the sample, alongside Aotearoa New Zealand, Finland, Latvia and the United States. The number of people who had read a book in the past year in Italy, Spain, the United Kingdom and Ireland all came in at over 90%. Local research also suggests reading rates in Australia are falling. Back in 2017, a Macquarie University study found 92% of us read books at least once in the previous year. By 2021, in the <a href="https://australiareads.org.au/research/the-national-reading-survey/">Australia Reads national survey</a> that figure had dropped to 75%. What’s behind these numbers? Price might be less of a factor than we often assume – and surprisingly, Australia’s dependence on cars could play a role. International examples showing how other countries protect and value their book cultures – from government policies to counter the strength of Amazon to public holidays for poets – suggest measures to actively boost our own could help. <h2>The price myth</h2> There’s a general perception that books cost too much in Australia. But they’re not necessarily more expensive here than elsewhere. Competition from online retailers like Amazon and increases in production costs globally <a href="https://www.ibisworld.com/au/industry/book-publishing/171/">have levelled prices internationally</a>. In fact, Australians often pay similar or less for books than readers in Canada, New Zealand and the US. Tim Winton’s new novel, <a href="https://theconversation.com/tim-winton-goes-cli-fi-his-dystopian-novel-juice-breaks-new-ground-to-face-the-climate-emergency-238769">Juice</a>, for example, has an Australian recommended retail price of A$49.99. It’s almost exactly the same price in Aotearoa New Zealand (A$49.81) and costs more in Canada (A$54.59). In the US, Juice is A$44.02, and in the UK, it’s A$43.07. While UK book prices are lower, this is mainly because books there don’t attract sales tax. The UK <a href="https://www.accountingfirms.co.uk/blog/are-books-vat-exempt/#:%7E:text=In%20the%20UK%2C%20books%20are,to%20most%20goods%20and%20services">made books exempt</a> from its value-added tax (VAT) applied to most goods and services – a deliberate decision to make reading more affordable. Pauline MacLeod, the children’s and young adult literature specialist at Brisbane’s Riverbend Books, told me children’s publishers are “trying hard to keep local books priced between $22.99 and $25.99”. Still, <a href="https://theconversation.com/why-australian-workers-true-cost-of-living-has-climbed-far-faster-than-weve-been-told-221590">in the current cost of living squeeze</a> books are a discretionary spend some cannot afford. <h2>Public transport is good for reading</h2> Interestingly, countries where <a href="https://www.statista.com/topics/8282/rail-passenger-transport-in-europe/#statisticChapter">more people use public transport</a> – like the UK, France, Germany and Spain – tend to have higher reading rates. It’s easier to read a book on a train than in a car, and these countries often have bookshops in train stations, creating a culture of reading while commuting. In contrast, car-dependent countries like Australia, the US and Aotearoa New Zealand show lower reading rates. Our reliance on cars might explain why audiobooks are more popular in Australia than in many other countries. <h2>A holiday for a poet</h2> In Ireland, where 91% of people have read a book in the past 12 months, there is a strong cultural history of storytelling. Reading is <a href="https://www.theguardian.com/books/article/2024/aug/20/we-all-read-like-hell-how-ireland-became-the-worlds-literary-powerhouse">supported by</a> an arts council providing grants and bursaries, and a healthy ecosystem of literary festivals and magazines, public libraries and bookshops. Australia has many of these things, but Ireland also significantly supports writers, with a tax exemption on artists’ income up to €50,000 (approximately A$81,500) and a basic-income pilot scheme granting 2,000 artists €325 (approximately A$530) a week. In France, where the government <a href="https://www.culture.gouv.fr/en/regions/drac-grand-est/services/idc/reading-book/Support-for-the-book-economy">actively protects its reading culture</a>, 88% of people have read a book in the past 12 months. In 2022, <a href="https://www.theguardian.com/world/2022/sep/23/france-minimum-book-delivery-fee-amazon">France introduced a law</a> to make French bookshops more competitive with online retailers like Amazon which often offer free delivery of books. By setting a minimum delivery fee for all online book orders of less than €35 (around A$57), the government aims to level the playing field for local booksellers. Perhaps unsurprisingly, only 5% of French people buy all their books online (as opposed to 12% in Australia). Australia has public holidays dedicated to sports, like the Melbourne Cup and the AFL Grand Final (both in Victoria). In Portugal, a national holiday, Portugal Day, commemorates the death of poet <a href="https://www.britannica.com/biography/Luis-de-Camoes">Luís de Camões</a>, considered Portugal’s greatest. While 85% of Portuguese people have read a book in the past 12 months (exactly the international average), they consider reading as one of their hobbies (37%) and have bought a book in the past year (76%) at rates above the international average. Interestingly, just 32% of Australians said they consider reading a hobby, compared to 44% in Spain and 42% in the UK. Families, the education system and the media are also all key to inculcating this culture of reading, as is a strong local publishing industry. <h2>The way forward</h2> Local booksellers report declining reading rates in Australia, too. Robbie Egan, CEO of Australia’s peak bookselling industry body, BookPeople, told me: “The competition for eyeballs is real and it is fierce, and consumer discretionary dollars are scarce”. Industry leaders like Egan suggest we need a national campaign to promote the benefit of reading. We know from local research that <a href="https://www.bookpeople.org.au/images/BookPeople_Papers_Imagination.pdf">Australians value books and storytelling</a>. With increasing competition from other forms of entertainment and tighter household budgets, encouraging a stronger reading culture may be more important than ever.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/243272/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/katya-johanson-425719">Katya Johanson</a>, Professor of Publishing and Audience Studies, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/australians-are-reading-less-than-other-countries-a-new-report-shows-why-243272">original article</a>. </div>

Books

Australian Word of the Year announced

Cost-of-living pressures and anger at the nation-wide supermarket duopoly have influenced the Australian Word of the Year for 2024. The Australian National Dictionary Centre, based at the Australian National University, has chosen "Colesworth": a blended word referencing the country's largest supermarket chains, Coles and Woolworths. Senior Researcher Mark Gwynn said the word is almost exclusively used in negative contexts, with many calling out the power held by both supermarket giants. Although the word itself has been circulated for several years, its use has skyrocketed over the past 12 months, according to Gwynn. "Aussies walk out of the supermarket with less after paying more, but then hear news of massive profits in the supermarket sector. And with official investigations into some of the pricing practices at Australia's two largest supermarkets, it's no wonder that ordinary shoppers have become cynical," he said. "The blend of the supermarket names Coles and Woolworths into Colesworth provides a succinct way of referring to both supermarkets while at the same time hinting at the negative aspects of what is perceived as an unfair duopoly." Other shortlisted words include a mix of terms referencing politics, tax, and climate change. "Breaking" also made the shortlist, following the iconic performance by Australian artist RayGun at the Paris Olympic Games, with words included "climate trigger," "ute tax," and "YIMBY" (Yes In My Backyard). Image credits: Shutterstock

Books

Jamie Oliver's book pulled from shelves over Indigenous Australian subplot

Jamie Oliver has had his new children's book pulled from shelves after a subplot about Indigenous Australians was deemed "disrespectful" and "damaging". The celebrity chef and author released his second children’s book in May, titled Billy and the Epic Escape, in which the protagonist takes a brief detour from England to Alice Springs, where the villain of the story abducts a young Indigenous girl living in foster care in an Indigenous community. The National Aboriginal and Torres Strait Islander Education Commission (NATSIEC) led the calls for the book to be withdrawn, accusing Oliver of perpetuating harmful stereotypes and “trivialising complex and painful histories”. NATSIEC chief executive Sharon Davis told <a href="https://www.theguardian.com/food/2024/nov/10/jamie-oliver-pulls-childrens-book-from-shelves-after-criticism-for-stereotyping-indigenous-australians-ntwnfb" target="_blank" rel="noopener">The Guardian</a> that the book implied Indigenous families “are easily swayed by money and neglect the safety of their children”, adding, “[It] perpetuates a racist stereotype that has been used to justify child removals for over a century.” “This portrayal is not only offensive but also reinforces damaging biases.” Oliver, who is currently in Australia promoting his latest cookbook, said in a statement, “I am devastated to have caused offence and apologise wholeheartedly. It was never my intention to misinterpret this deeply painful issue. Together with my publishers we have decided to withdraw the book from sale.” Penguin Random House UK also released a statement on the book, conceding, “It is clear that our publishing standards fell short on this occasion, and we must learn from that and take decisive action. With that in mind, we have agreed with our author, Jamie Oliver, that we will be withdrawing the book from sale.” Both Oliver and Penguin Random House UK revealed that during the writing of the book, no consultation with Indigenous Australian individuals or organisations had taken place. Indigenous children’s author Cheryl Leavy told The Guardian the decision to pull the book from shelves was the right one, saying, “It makes it possible for Penguin Random House to build relationships with First Nations communities and tell better stories.” “It’s time now for Penguin Random House to work with First Nations advisers to put structural measures in place that prevent this from ever happening again.” Image credits: Penguin Random House UK/Ken McKay/ITV

Books

Readers response: What’s the best book you’ve read recently, and what did you love about it?

With hundreds of new books on the market, it's hard to know what are the best to recommend. We asked our readers what the best book they've read recently is and what did they love about it, and the response was overwhelming. Here's what they said. Helen Ulgekutt - The Venice Hotel by Tess Woods, loved it start to finish. Zoy Crizzle - The Little Paris Bookshop by Nina George. Great book, so easy to read and an interesting story line. I loved it. Keralie Stack - I have just finished Fallen Woman by Fiona McIntosh. A good read. Karen Peardon - The Borrowed Life of Frederick Fife by Anna Johnston. A great story. Nola Schmidt - The Perfect Passion Company by Alexander McCall Smith. It was clever, witty, and gentle. June Lennie - People of the Book by Geraldine Brooks. Interesting story set in different historical periods. Brilliantly written and researched. Christine Hayes - Where the Crawdads Sing, just beautiful. Sandra Moores - All That's Left Unsaid by Tracey Lien. A great debut based in Cabramatta, very compelling read. Greg Cudmore - 'To Alpha From Omega'. Although very much Australian, its themes are universal. Denise Zephyr - The Days I Loved You Most. Such a beautiful story and a beautiful ending. Marie Chong - Minding Frankie by Maeve Binchy. I love all her books, she tells a good story. Yvonne Bercov - The Nightingale by Kristin Hannah, couldn’t put it down. Image credits: Shutterstock

Books

Bindi Irwin to release children's book

Bindi Irwin is releasing her debut children's book - and it involves her adorable three-year-old daughter, Grace Warrior. The wildlife warrior took to Instagram to share the news, saying: "Today is one of the very best days of my entire life." "I officially get to share with you my new children's book, You Are a Wildlife Warrior! Woohoo! Crikey" According to Bindi, the book will take readers on an "amazing journey" with her "wonderful daughter" Grace. "You'll explore our home, Australia Zoo and the conservation work we do all over the world," she shared. "I hope this book will inspire the next generation to love, respect and protect our natural world... it means the world to share our journey with you!" she added. The book will feature illustrations from Ramona Kaulitzki and take readers on an adventure with the mother-daughter duo. You Are a Wildlife Warrior! will be available in the US and Australia on February 4, 2025. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/reel/C8sdavsSBof/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/reel/C8sdavsSBof/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Bindi Irwin (@bindisueirwin)</a> </div> </blockquote> Bindi's mum, Terri, couldn't hide how proud she was, commenting: "I am tremendously proud of you, @bindisueirwin. You are a wonderful mama and a true Wildlife Warrior! Your book is beautiful and brilliant. A fantastic, fun story for everyone!" Fans were quick to follow, congratulating the wildlife warrior on her latest project. "Well that's every child's birthday present ever sorted... congratulations Bindi, what a fantastic project!" one wrote. "Congratulations!!! I'm so happy I get to share a part of your world at Australia Zoo with my daughter!!" another added. Images: Instagram

Books

Doctors at war

In the annals of military history, the valour and sacrifices of doctors who served alongside soldiers in combat zones often go unrecognised. Yet their stories, as retired colonel Robert Likeman poignantly illustrates in his Australian Doctors at War series, reveal a legacy of courage and commitment that is integral to understanding the full scope of wartime heroism. --- Winston Churchill, in his Sketches on Service During the Indian Frontier Campaign of 1897, wrote, “The spectacle of a doctor in action among soldiers, in equal danger and with equal courage, saving life where others are taking it, allaying pain where all others are causing it, is one which must always seem glorious, whether to God or man”. It is certainly true that doctors in a combat zone share the risks of shot and shell equally with the fighting soldier, but they also experience the added stress of taking responsibility for those wounded and dying on the battlefield, and in situations where the best of treatment cannot be readily given. Glorious or otherwise, the stories of our Australian Army doctors at war remain relatively unrecognised. Doctors have always been among the first to volunteer – in all 1,242 doctors served with the first Australian Imperial Force, careless for their own safety, and 55 of them failed to return. These men represented a significant proportion of the medical workforce in Australia, which by 1937 only reached 5,000. In World War 2, with the introduction of compulsory military service, the number of serving doctors exceeded 2,500. Hardly any of them are still with us today, but their children and grandchildren are our fellow citizens, and in many cases our local doctor may be one of these. It is a legacy not to be dismissed lightly. Those who have served in the Army know that treating the ailments of soldiers and preserving their health occupies much more time than dressing their wounds. In World War 1, fought over the agricultural lands of Europe, infectious diseases such as gas gangrene, tetanus and trench fever were common. In the deserts of World War 2, these were replaced by hepatitis, sandfly fever and eye infections. New Guinea presented a wholly different spectrum of disease, dominated by malaria, scrub typhus and amoebic dysentery. The maintenance of “fighting fitness” was a daily struggle for the doctors. The 2021 Interim Report of the Royal Commission into Defence and Veteran Suicide did not identify medical officers as being particularly at risk of psychological injury as a result of their service in a war zone. But in view of their exposure to mass trauma and death, they might be assumed to have a significant risk of Post Traumatic Stress Disorder, both from the chances of being wounded or killed, and from the guilt associated with the failure to preserve life. Two of the medical officers who served at Gallipoli shot themselves on their return to Egypt, perhaps because they had seen men die who might have been saved with better medical attention. Fourteen other doctors from the 1st Australian Imperial Force are known to have committed suicide after their return to Australia. Close to 3,000 Australian nurses served overseas with the Australian Army Nursing Service in World War 1, but female doctors were not permitted to enlist. A significant number of them however, at least 19, served in the British Army or in voluntary hospitals in Europe. One of them, Phoebe Chapple, was awarded the Military Medal for Bravery. In World War 2, 22 women doctors were commissioned in total – moreso due to the shortage of manpower than from egalitarian principles – though none of them were posted overseas. In recent overseas deployments, women doctors in the Army have quite properly taken their rightful place. The military service and civilian practice of all the Australian doctors who served in both World Wars has been meticulously documented in my six-volume series, Australian Doctors at War, published by Halstead Press. Your relatives may be among them. <img src="https://oversixtydev.blob.core.windows.net/media/2024/06/Robert_Likeman_01.jpg" alt="" width="1280" height="720" /> The Inevitable Hour is the sixth and final volume of my Australian Doctors at War series, covering the period from January 1943 to the disbanding of the Second Australian Imperial Force in April 1947. Even after the Japanese had been driven from Papua and New Guinea, they still retained most of the archipelago. The threat to Australia was great, and despite being a then small nation, the country mobilised quickly to disrupt Japanese holdings in Madang, Wewak and Wau. Overcoming the constant influx of wounded men needing treatment, suffering themselves from afflictions such as hepatitis, dysentery and depression, aggravated by extreme and tropical climates, Australia’s medical officers were under considerable pressure, during the war and in the monumental demobilisation of the 2nd AIF that followed Japanese defeat. ABOUT THE AUTHOR Robert Likeman is a graduate of Oxford University, where he studied Classics, Oriental Languages and Medicine. He is a specialist in obstetrics and gynaecology, in tropical medicine, and in rural and remote medicine. After service in the British Army he migrated to Australia in 1972. He is the author of seven books of military history and two biographies, and co-author of a textbook of obstetrics and gynaecology for doctors practising in developing countries. Images courtesy of Robert Likeman.

Books

How to write creative non-fiction history

Discovering an old photo album from the 1920s, celebrated author and adjunct professor Paul Ashton embarked on a journey to turn historical research into engaging creative non-fiction, blending meticulous evidence with captivating storytelling. Here he shares he insights on the fascinating process. One afternoon my elderly father and niece came to my home for lunch. On their way they had seen something on a council clean up. ‘We thought you might be interested in this,’ said my father handing me a small, brown photo album. I was. The album contained around 100 undated black and white photographs. It became apparent quickly that this was the record of a road trip done in the 1920s or 1930s. A boy, two women and a man had gone on a trip from Sydney up through New England, to Tamworth then to Brisbane and back to Sydney. Shadows in some of the images indicate that they were taken by the man and at least one of the women. The album provided the basis for my first children’s book, Palmer’s Mystery Hikes. One photograph stood out for me. Hundreds of people were gathered somewhere in the bush. In the far left-hand corner in the background was an elevated table covered with a large white tablecloth. With a magnifying glass I could just make out ‘Palmers [something] Hike’. In 1932 Palmer’s men and boys’ department store, in Park Street in Sydney, had established a hiking club to promote the sale of hiking apparel. You bought a ‘mystery’ ticket from New South Wales Railways with which Palmer had an arrangement; turned up at Central Station on Sunday morning; and were taken to a mystery destination. From there you did a ten-mile hike to another station and were then trained back to Sydney. There were five hikes. The third one to the Hawkesbury River attracted over 8,000 people. Turning historical research into believable fiction or creative non-fiction has certain demands. How do you strike a balance between historical research and evidence and the narrative form? This is a big question and will ultimately depend on many things, including the availability of primary and secondary sources and the nature of the particular narrative. But perhaps the most important question is: how do writers use the past to give their work historical dimensions and insights? For me, the most critical element is context. And it’s the thing most missing in much historically based fictional literature. Evoking people, places and periods involves understandings of things such as continuity and change over time, historical process – like colonisation and suburbanisation – ideologies and superstitions. Where appropriate, these should form subtle backgrounds to the narrative. Fiction and creative non-fiction as historical modes of presenting history should also show – not tell. My edited collection, If It’s not True It Should Be (Halstead Press), explores writing history using fictional techniques. As Peter Stanley has written in that book, ‘those who seek to illuminate the past through the imaginative recreation of historical fiction … [are] motivated by the fundamental conviction that what links the fidelity of the historian and the imagination of the historical novelist is that the work of both should be offered and read as if it were true.’ ABOUT THE AUTHOR Paul Ashton is adjunct professor and co-founder of the Australian Centre for Public History at the University of Technology Sydney and adjunct professor at the University of Canberra and Macquarie University. He has authored, co-authored, edited and co-edited over 40 books and is editor of the journal Public History Review. His series of creative non-fiction children’s histories – Accidental Histories – is being published by Halstead Press. Images: Supplied

Books

"I am lucky to be here": Julie Goodwin opens up on childhood trauma

Julie Goodwin has opened up about the childhood abuse she experienced in her latest memoir. The 53-year-old MasterChef Australia star wrote about how she was sexually abused as a child and later attempted suicide as a teenager in her autobiography, Your Time Starts Now. Speaking to The Australian Women's Weekly, Goodwin recalled how the memory of the abuse which she had buried for a long time returned when she was 16. "Nothing triggered it, it was just like the memory was always there, like a dusty book on a library shelf," she said. "And one day I took it down and looked at it and went, 'Holy crap, how have I not thought about that for nine years?'" Goodwin, however kept the resurfaced memory to her self and maintained an excellent academic record at high school, even becoming school captain, until a year later when she attempted suicide at the age of 17. She shared that following her hospitalisation, she returned to school a few days later and acted as if nothing serious had happened. The TV star then opened up on her road to recovery and the tremendous amount of help she received from her husband Mick, who gave her the love and support she needed. "I am living my second life," she told Women's Weekly. "I am lucky to be here." Images: Channel 10

Books

"Crossover of a lifetime": Bindi Irwin's exciting new career move

Bindi Irwin has delighted fans with the news of an exciting new project. The wildlife warrior took to Instagram to share the news, which is set to be a hit with the whole family. The 25-year-old is following in the footsteps of many other Aussie celebrities, who have made their debut in the animated world of the hit children's TV show Bluey. Bindi announced that she will be narrating the new audiobook called The Creek for the Bluey Book Reads series, as the Bluey pandemonium continues around the world. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/C33e0xUI6eY/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/C33e0xUI6eY/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Bluey (@officialblueytv)</a> </div> </blockquote> She shared a picture of herself along with the words: “Introducing The Creek, read by Bindi Irwin,”, adding, “Love you Bluey and Bingo!” in the post caption. Fans were delighted by the news, excited to see the young mum take on work outside of Australia Zoo. “Crossover of a lifetime, are you kidding me?” one fan wrote. “I am so excited.” “WHAT 😍😍 the perfect combo!!” added a second. “OK, definitely need the Irwin’s on Bluey!!!!” wrote a third. Another mum said Bindi was now fulfilling a role for her children that Steve and Terri Irwin had performed for her when she was growing up. “(Bindi’s) parents ‘helped raise me’ through the TV, and now she and Chandler are doing the same for the next generation! ❤️,” the fan wrote. “Bindi, Bluey and Bingo, what a trio,” noted another. Image credits: Instagram

Books

Who wrote the Bible?

<a href="https://theconversation.com/profiles/philip-c-almond-176214">Philip C. Almond</a>, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a> The Bible tells an overall story about the history of the world: creation, fall, redemption and God’s Last Judgement of the living and the dead. The Old Testament (which dates to 300 BCE) begins with the creation of the world and of Adam and Eve, their disobedience to God and their expulsion from the garden of Eden. The New Testament recounts the redemption of humanity brought about by the life, death and resurrection of Jesus. It finishes in the book of Revelation, with the end of history and God’s Last Judgement. During the first 400 years of Christianity, the church took its time deciding on the New Testament. Finally, in 367 CE, authorities confirmed the 27 books that make it up. But who wrote the Bible? Broadly, there are four different theories. <h2>1. God wrote the Bible</h2> All Christians agree the Bible is authoritative. Many see it as the divinely revealed word of God. But there are significant disagreements about what this means. At its most extreme, this is taken to mean the words themselves are divinely inspired – God dictated the Bible to its writers, who were merely God’s musicians playing a divine composition. As early as the second century, the <a href="https://archive.org/details/fathersofchurch0000unse/page/382/mode/2up">Christian philosopher Justin Martyr saw it</a> as only necessary for holy men "to submit their purified persons to the direction of the Holy Spirit, so that this divine plectrum from Heaven, as it were, by using them as a harp or lyre, might reveal to us divine and celestial truths." In other words, God dictated the words to the Biblical secretaries, who wrote everything down exactly. This view continued with the medieval Catholic church. Catholic theologian Thomas Aquinas put it simply in the 13th century: “the author of Holy Writ is God”. He <a href="https://www.ccel.org/ccel/aquinas/summa.FP_Q1_A10.html">qualified this</a> by saying each word in Holy Writ could have several senses – in other words, it could be variously interpreted. The religious reform movement known as Protestantism swept through Europe in the 1500s. <a href="https://www.britannica.com/event/Reformation">A new group of churches formed</a> alongside the existing Catholic and <a href="https://www.britannica.com/topic/Eastern-Orthodoxy">Eastern Orthodox</a> traditions of Christianity. Protestants emphasised the authority of “scripture alone” (“sola scriptura”), meaning the text of the Bible was the supreme authority over the church. This gave greater emphasis to the scriptures and the idea of “divine dictation” got more support. So, for example, <a href="https://babel.hathitrust.org/cgi/pt?id=coo.31924029273996&seq=254">Protestant reformer John Calvin declared</a>: "[we] are fully convinced that the prophets did not speak at their own suggestion, but that, being organs of the Holy Spirit, they only uttered what they had been commissioned from heaven to declare." <figure class="align-left zoomable"><figcaption></figcaption></figure> “Divine dictation” was linked to the idea that the Bible was without error (inerrant) – because the words were dictated by God. Generally, over the first 1,700 years of Christian history, this was assumed, if not argued for. But from the 18th century on, both history and science began to cast doubts on the truth of the Bible. And what had once been taken as fact came to be treated as myth and legend. The impossibility of any sort of error in the scriptures became a doctrine at the forefront of the 20th-century movement known as <a href="https://www.britannica.com/topic/Christian-fundamentalism">fundamentalism</a>. The <a href="https://www.apuritansmind.com/creeds-and-confessions/the-chicago-statement-on-biblical-inerrancy/">Chicago Statement on Biblical Inerrancy in 1978</a> declared: "Being wholly and verbally God-given, Scripture is without error or fault in all its teaching, no less in what it states about God’s acts in creation, about the events of world history, and about its own literary origins under God, than in its witness to God’s saving grace in individual lives." <h2>2. God inspired the writers: conservative</h2> An alternative to the theory of divine dictation is the divine inspiration of the writers. Here, both God and humans collaborated in the writing of the Bible. So, not the words, but the authors were inspired by God. There are two versions of this theory, dating from the <a href="https://www.britannica.com/event/Reformation">Reformation</a>. The conservative version, favoured by Protestantism, was: though the Bible was written by humans, God was a dominant force in the partnership. Protestants believed the sovereignty of God overruled human freedom. But even the Reformers, <a href="https://www.britannica.com/biography/Martin-Luther">Martin Luther</a> and <a href="https://www.britannica.com/biography/John-Calvin">John Calvin</a>, recognised variation within the Biblical stories could be put down to human agency. Catholics were more inclined to recognise human freedom above divine sovereignty. Some flirted with the idea human authorship was at play, with God only intervening to prevent mistakes. For example, in 1625, <a href="https://archive.org/details/catholictheories0000burt/page/46/mode/2up">Jacques Bonfrère said</a> the Holy Spirit acts: “not by dictating or inbreathing, but as one keeps an eye on another while he is writing, to keep him from slipping into errors”. In the early 1620s, the Archbishop of Split, Marcantonio de Dominis, went a little further. He distinguished between those parts of the Bible revealed to the writers by God and those that weren’t. In the latter, he believed, errors could occur. His view was supported some 200 years later by <a href="https://www.britannica.com/biography/Saint-John-Henry-Newman">John Henry Newman</a>, who led the Oxford movement in the Church of England and later became a cardinal (and then a saint) in the Roman Catholic Church. Newman argued the divinely inspired books of the Bible were interspersed with human additions. In other words, the Bible was inspired in matters of faith and morals – but not, say, in matters of science and history. It was hard, at times, to distinguish this conservative view from “divine dictation”. <h2>3. God inspired the writers: liberal</h2> During the 19th century, in both Protestant and Catholic circles, the conservative theory was being overtaken by a more liberal view. The writers of the Bible were inspired by God, but <a href="https://archive.org/details/catholictheories0000burt/page/186/mode/2up">they were “children of their time”</a>, their writings determined by the cultural contexts in which they wrote. This view, while recognising the special status of the Bible for Christians, allowed for errors. For example, in 1860 <a href="https://archive.org/details/a578549600unknuoft/page/n359/mode/2up?ref=ol&view=theater&q=inspir">the Anglican theologian Benjamin Jowett declared</a>: “any true doctrine of inspiration must conform to all well-ascertained facts of history or of science”. For Jowett, to hold to the truth of the Bible against the discoveries of science or history was to do a disservice to religion. At times, though, it’s difficult to tell the difference between a liberal view of inspiration and there being no meaning to “inspiration” at all. In 1868, a conservative Catholic church pushed back against the more liberal view, declaring God’s direct authorship of the Bible. The Council of the Church known as Vatican 1 <a href="https://www.papalencyclicals.net/councils/ecum20.htm.">declared</a> both the Old and New Testaments were: “written under the inspiration of the holy Spirit, they have God as their author.” <h2>4. People wrote it, with no divine help</h2> Within the most liberal Christian circles, by the end of the 19th century, the notion of the Bible as “divinely inspired” had lost any meaning. Liberal Christians could join their secular colleagues in ignoring questions of the Bible’s historical or scientific accuracy or infallibility. The idea of the Bible as a human production was now accepted. And the question of who wrote it was now comparable to questions about the authorship of any other ancient text. The simple answer to “who wrote the Bible?” became: the authors named in the Bible (for example, Matthew, Mark, Luke and John – the authors of the four Gospels). But the idea of the Bible’s authorship is complex and problematic. (So are historical studies of ancient texts more generally.) This is partly because it’s hard to identify particular authors. The content of the 39 books of the Old Testament is the same as the 24 books of the Jewish <a href="https://www.britannica.com/topic/Hebrew-Bible">Hebrew Bible</a>. Within modern Old Testament studies, it’s now generally accepted that the books were not the production of a single author, but the result of long and changing histories of the stories’ transmission. The question of authorship, then, is not about an individual writer, but multiple authors, editors, scribes and redactors – along with multiple different versions of the texts. It’s much the same with the New Testament. While 13 Letters are attributed to <a href="https://www.britannica.com/biography/Saint-Paul-the-Apostle">Saint Paul</a>, there are doubts about his authorship of seven of them (Ephesians, Colossians, 2 Thessalonians, 1 Timothy, 2 Timothy, Titus, and Hebrews). There are also disputes over the traditional authorship of a number of the remaining Letters. The book of Revelation was traditionally ascribed to Jesus’s disciple John. But it is now generally agreed he was not its author. Traditionally, the authors of the four <a href="https://www.britannica.com/topic/Gospel-New-Testament">Gospels</a> were thought to be the apostles Matthew and John, Mark (the companion of Jesus’s disciple Peter), and Luke (the companion of Paul, who spread Christianity to the Greco-Roman world in the first century). But the anonymously written Gospels weren’t attributed to these figures until the second and third centuries. The dates of the Gospels’ creation also suggests they were not written by eyewitnesses to Jesus’s life. The earliest Gospel, Mark (65-70 CE) was written some 30 years after the death of Jesus (from 29-34 CE). The last Gospel, John (90-100 CE) was written some 60-90 years after the death of Jesus. It’s clear the author of the Gospel of Mark drew on traditions circulating in the early church about the life and teaching of Jesus and brought them together in the form of ancient biography. In turn, the Gospel of Mark served as the principal source for the authors of Matthew and Luke. Each of these authors had access to a common source (known as “Q”) of the sayings of Jesus, along with material unique to each of them. In short, there were many (unknown) authors of the Gospels. Interestingly, another group of texts, known as the <a href="https://www.britannica.com/topic/apocrypha">Apocrypha</a>, were written during the time between the Old and New Testaments (400 BCE to the first century CE). The Catholic Church and the Eastern Orthodox Christian traditions consider them part of the Bible, but Protestant churches don’t consider them authoritative. <h2>Divine or human: why does it matter?</h2> The question of who wrote the Bible matters because the Christian quarter of the world’s population believe the Bible is a not merely a human production. Divinely inspired, it has a transcendent significance. As such, it provides for Christians an ultimate understanding of how the world is, what history means and how human life should be lived. It matters because the Biblical worldview is the hidden (and often not-so-hidden) cause of economic, social and personal practices. It remains, as it has always been, a major source of both peace and conflict. It matters, too, because the Bible remains the most important collection of books in Western civilisation. Regardless of our religious beliefs, it has formed, informed and shaped all of us – whether consciously or unconsciously, for good or ill.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/214849/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/philip-c-almond-176214">Philip C. Almond</a>, Emeritus Professor in the History of Religious Thought, <a href="https://theconversation.com/institutions/the-university-of-queensland-805">The University of Queensland</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/who-wrote-the-bible-214849">original article</a>.

Books

Surprise choice for Time's 2023 Person of the Year

Hold onto your hats, folks: Taylor Swift has been crowned Time magazine's Person of the Year for 2023, leaving the world collectively scratching its head and asking, "Did we miss the memo that we're living in Taylor's world now?" Traditionally reserved for influential political figures or those who've left an indelible mark on the global stage – you know, like Russian President Vladimir Putin, King Charles III, Barbie – this time the Person of the Year honour has been bestowed upon a pop sensation who can make you both weep and dance in the span of a three-minute song. In a statement that surely made a few historians raise an eyebrow, Time's editor-in-chief, Sam Jacobs, explained, "In a divided world, where too many institutions are failing, Taylor Swift found a way to transcend borders and be a source of light." Because when we think of bridging divides and bringing people together, we immediately think of "Shake It Off" and "Love Story". <blockquote class="twitter-tweet"> Time Magazine: We’d like to name you Person of the Yea- Me: Can I bring my cat. <a href="https://t.co/SOhkYKSTwG">https://t.co/SOhkYKSTwG</a> — Taylor Swift (@taylorswift13) <a href="https://twitter.com/taylorswift13/status/1732406430857093501?ref_src=twsrc%5Etfw">December 6, 2023</a></blockquote> While past Persons of the Year have included world leaders and political heavyweights, Swift's victory signals a definite paradigm shift. Apparently, in 2023, the ability to make millions of people sing along to your breakup anthems and inspire an army of fans to don cat ears for Halloween is a more valuable global contribution than, say, Ukrainian President Volodymyr Zelenskyy being honoured for his courage in resisting Russia's invasion. In 2023, it seems we've collectively decided that what the world really needs is more "Bad Blood" and less, well, actual bad blood between nations. Chinese President Xi Jinping and Hollywood strikers also found themselves on the shortlist, along with Barbie, who apparently had a banner year as the highest-grossing film of 2023. Forget geopolitics; it's all about the dollars and sense. Swift also triumphed over King Charles III, Federal Reserve chairman Jerome Powell, and even OpenAI CEO Sam Altman. Apparently, even the promise of artificial intelligence couldn't outshine the real magic of Taylor Swift. In the end, T-Swift's ability to sell out stadiums and break box office records with her concert movie proved that in a world full of political turmoil and global challenges, what we really need is a good sing-along. Images: Twitter / X

Books

Readers Respond: What's a book you love that most people have never heard of?

Looking for a new book to kickstart your year? Look no further we've got you covered. Here are a few of our reader's book recommendations that you may not have heard of. Ruth Fontaine - I’m reading We of the Never Never atm. Not sure if it’s still well known. I’ve read it before but awhile back and love it. I love reading how they lived nearly 120 years ago. Elaine Rosenberg - The Abbey Girls Series by Elsie J Oxenham. Maryika Welter - The courage to be disliked. ... Furmitake Kogan, Ichiro Kishimi. Janice Stewart - A Fortunate Life by Albert Facey Suzanne Midson - On Our Selection by Steele Rudd. Read it when I was about 10/12. Best laugh ever. Australian humour at its best. Julie Anderson - Episode of Sparrows by Rumor Goddin Nancie Golsby - The Half Burned Tree by Dympna Cusack June Maynard - Sahara, by Paula Constant. Preceded by Slow Journey South. A thrilling, actual account of her adventure. Peter Rayner - Enforcer by Caesar Campbell Meg Milton - I Heard the Owl Call My Name by Margaret Craven Edie Dore - The Curious Incident of the Dog in the Night-time by Mark Haddon. Christine Cornforth - A Grief Observed by CS Lewis. Wendy Oliver - The Good Earth by Pearl Buck Do you have any other recommendations that we might have missed? Image: Getty

Books

Surprise choice for "Word of the Year"

The Oxford University Press has named its word of the year, and the results are not what you expect. From "Swiftie" (an evid Taylor Swift fan), "situationship" (an informal romantic or sexual relationship) and "prompt" (an instruction given to an AI program), it's clear that this year's line up was heavily influenced by Gen Z. This year's winner truly speaks volumes about the impact of the younger generation, after results from a public vote reveal that "Rizz" is the word of the year. Rizz is believed to come from the middle of the word charisma, and it is often used to describe someone's ability to attract or seduce someone else. The publishers of the Oxford English Dictionary also said that it can be used as a verb as in to "rizz up" which means to attract or chat someone up. "It speaks to how younger generations create spaces — online or in person — where they own and define the language they use," the publisher said. "From activism to dating and wider culture, as Gen Z comes to have more impact on society, differences in perspectives and lifestyle play out in language, too." In a news release, Oxford Languages President Casper Grathwohl said: "Rizz is a term that has boomed on social media, and speaks to how language that enjoys intense popularity and currency within particular social communities — and even in some cases lose their popularity and become passé — can bleed into the mainstream." One of the first instances of a celebrity using it, was when earlier this year Spiderman star Tom Holland said that he had "no rizz whatsoever", during an interview with BuzzFeed. "I have limited rizz," he said at the time, joking about his relationship with co-star Zendaya. Rizz was one of eight words that made it to the shortlist, which included a few other words like: “beige flag”, “parasocial”, “heat dome” and “de-influencing”. Rizz is heavily used online with the hashtag racking up billions of views on TikTok. Image: Getty

Books

New royal book pulled from shelves over huge legal blunder

Copies of an explosive new book about the royal family are being pulled from shelves and destroyed after a translation error "accidentally named" the alleged "royal racist". Sales of the new book Endgame, written by Omid Scobie who also wrote Finding Freedom about Harry and Meghan's exit from the royal family, were "temporarily" put on hold just days after its release after what has been labelled an error. According to Xander, the publishers of the Dutch edition of Scobie's book, a translation error led to a member of the royal family being identified as the person who made comments about baby Archie's skin colour. “[We are] temporarily withdrawing the book by Omid Scobie from sale. An error occurred in the Dutch translation and is currently being rectified,” the company said in a statement on Tuesday. Meanwhile, <a href="https://www.thesun.co.uk/royals/24884315/royal-racist-accidentally-named-omid-scobie/" target="_blank" rel="noopener">The Sun</a> claims that thousands of copies of the book are now being destroyed as a result. The "racist royal" scandal dates back to when Prince Harry and Meghan Markle sat down with Oprah Winfrey for a tell-all interview in 2021, when Markle alleged that while she was pregnant with their first child, Prince Archie, there were “concerns and conversations” from a member of the royal family about how dark his skin might be. The Duchess of Sussex stopped short of naming the person involved, telling Winfrey, “I think that would be very damaging to them.” In the original edition of his book, Scobie also declines to identify the royal, claiming libel laws prevented him from doing so – although he has confirmed he knows who it is. “I do know who made the comments about Archie’s skin colour,” he told UK program Good Morning during his book press tour. “The names were mentioned in letters between Meghan and Charles that were exchanged sometime after the Oprah interview." “We know from sources that Charles was horrified that that’s how Meghan felt. Those conversations were, and that he wanted to, sort of as a representative for the family, have that conversation with her. “And it is why I personally think they have been able to move forward with some kind of line of communication afterwards. Though they may not see eye-to-eye on it.” It’s understood the royal family member accidentally named in the Dutch edition was not the person Meghan had been referring to. Image credits: Getty Images / Harper Collins

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"I still can't fathom it": Wendy Harmer names and shames inappropriate guest

Wendy Harmer has named and shamed the high-profile comedian who would regularly expose his genitals to her during an ongoing radio prank. Recalling the X-rated moments in her new memoir Lies My Mirror Told Me, the 68-year-old broadcasting veteran revealed that her former 2Day FM co-host, comedian Jamie Dunn would consistently expose himself as a joke. Harmer recalled how she never found the joke amusing nor sexual in nature, writing, "I suspect Jamie was a bit of a naturist." "I still can't fathom why he would do it as a gag on radio," she said, later confirming that she saw Dunn's penis "more times" than she "cared to remember". Harmer recalled the "joke" in detail, while her former co-host, Paul Holmes, also shared his experience in the memoir, saying he never understood the reasoning behind the bizarre prank. Holmes wrote, "He'd drop his dacks, exposing his penis, raise his hands in the air and strike a pose." When approached by the Sydney Morning Herald for comment, Dunn, who was best known for voicing and operating the children's puppet Agro, admitted to exposing himself "once or twice" as a "harmless joke". In her memoir, Harmer went on to detail the early days of her career in the male-dominated media industry, and shared how she very quickly learned to stand up for herself. “I was a kid, I soon developed a more assertive attitude ... Many men I have worked with have said I’m a bit scary, they’re usually the ones who got second billing,” Harmer told the Sydney Morning Herald. “Certainly, I would not like my daughter to have gone through some of the things I went through in the workplace.” Image credits: Getty Images

Books

The unexpected health benefits of reading

Not only does reading expand your mind but it also comes with many health benefits. So next time you lose hours (or days) of your life chomping through a novel, don’t feel so bad because you’re doing yourself the following favours. It reduces stress According to a 2009 study from the University of Sussex, reading for just six minutes can reduce stress levels by up to 68 per cent. Researchers found that silently reading to yourself slows down heart rate and eases muscle tension, and it achieves this more effectively than other relaxing activities such as listening to music or having a cuppa. It refines brain function A 2014 study published in Brain Connectivity found reading fiction improves reader’s ability to flex the imagination and “puts the reader in the body of the protagonist”, increasing a person’s emotional intelligence and ability to be compassionate. It helps your memory In her landmark paper "What Reading Does For The Mind", psychologist Dr. Anne Cunningham concluded, “reading is a very rich and complex and cognitive act.” She found the benefits of reading become reciprocal – reading helps your brain retain information over time (as every time you read, you create a new memory), which in turns makes you read better, which in turn make you sharper and smarter. It enhances mental agility in old age The 2013 study from the Rush University Medical Center in Chicago measured memory and thinking in over 200 participants aged 55 and over, annually for six years until their deaths. The participants answered the same questions about whether they read books, wrote letters and took part in other mentally stimulating activities. The researchers found that those who kept their brain busy had a rate of cognitive decline estimated at 15 per cent slower than those who did not. “Based on this, we shouldn't underestimate the effects of everyday activities, such as reading and writing, on our children, ourselves and our parents or grandparents,” says study author Robert. S. Wilson, Ph.D. Image credits: Getty Images

Books

How to write a memoir

How to start a memoir My Story by Russell Durling is my 85-year-old father’s account of the highlights of his life. He is writing and editing it, by hand, in several notepads I gave him as a Christmas gift to encourage the memoir project he had talked about for years. In it, my dad shares stories of summer jobs when he was a teenager, breaking up log jams on the Saint John River near his hometown of Meductic, New Brunswick. He’d move from log to floating log to reach shore again safely – and he loved every minute of this adventure, even when he’d land in the water. Reading an early draft, I learned new details of his history, like how when they were children, his cousin Clara had a pet crow. He also wrote about lessons learned from his Royal Canadian Mounted Police career, which was spent mostly in Nova Scotia, and shared insights about how to retire well. Pro tip from my father: to add a decade to your life, ditch the city (if you can). This memoir will be a treasure for our family, and I’m glad my father was finally able to start writing it, after spending a long time talking about wanting to. And I get it. Writing your life story can feel like a daunting project. But it’s worth it, both to the writer and their potential readers. If you’re having a hard time putting pen to paper, here’s advice on how to start a memoir. First, ask yourself why you're writing a memoir Esmeralda Cabral is a writer who works with people who wouldn’t normally consider themselves writers through her workshop, Writing Your Life. Often, she helps people create written treasures for their families, and sometimes they’re writing just for themselves. To her, and those she teaches, memoir writing can be a way of remembering and reflecting on experiences both positive and negative. “There is a clarity that comes when you put something down on paper,” says Cabral. “Remembering and writing helps us make sense of things. If you don’t write it down or tell it, it’s lost. And that’s a shame.” Begin by jotting down your reasons for writing your story. You could summarise those reasons on a Post-It and stick it on your fridge as an encouraging reminder to stay motivated. After all, there are many good reasons to write: to remember and reflect on your past, to capture your adventures, to share life lessons with family and friends, or maybe even to be published. Consider sharing your plan with a friend or family member who can check in and cheer your progress. Where to start You don’t have to start a memoir with day one. In fact, as much as your future readers love you, they may find that approach less than gripping. In her workshops, Cabral helps people to start a memoir by using a photo that is meaningful to them. She asks them to imagine sitting down with a good friend and telling them the story behind it. Or begin your writing with an event or story you are particularly interested in sharing. What grabs you as a big moment? Select a vivid memory and start there. “Plug your nose and jump in and write down all your memories as truthfully as you can,” summarises New York Times bestselling author Anne Lamott in Bird by Bird: Some Instructions on Writing and Life. Maybe start with a birthday party you remember, or your first-grade classroom. Try writing at the same time every day, so you can build a routine that will keep you putting words on the page. Write what you want In every life, there is light and shadow, joy and grief. If you are hesitant to write your memoir because you have difficult stories that might hurt others, there is a solution. First, “You don’t have to write about everything,” says Cabral. “It’s okay to have secrets that go with you to the grave.” Simply knowing you have the freedom to not go to the darkest of places in your writing can lift you over those psychological hurdles of hesitation. However, writing often takes on a life of its own. If you find yourself standing outside a door you had marked as “Do Not Enter,” consider Cabral’s advice: “Write about the hard things as if the person you are writing about is reading it. Be as kind as you can. Leave them with dignity.” Who is your audience? If you’re writing for your eyes only, as a kind of personal therapy, then you may be purposely opening doors and exploring what’s on the other side. That’s okay, too. You are creating a treasure for yourself, and that can be very healthy. Besides, whether the writing is for you or for others, you can always hit the delete button or visit the paper shredder later, if you wish. For now, just get it down. Stop yourself from sticking to rules Avoid letting worries over style or structure stop you from writing. If you care enough about grammar, you can ask someone you trust to read it over later on, or even hire a freelance editor if you’re really fretting over verb tenses. Remember, perfection in writing is not your goal. Readers are interested Writers also might hesitate to share stories because they fear they are boring. “I hear a lot of people say, ‘Oh no, that wouldn’t be interesting to anyone but me,’” says Cabral. But our life stories are of interest to others, whether they feel ordinary to us or if they really are extraordinary. They remind us we are all in this together. Writer Pauline Dakin, author of the award-winning 2017 memoir Run, Hide, Repeat: A Memoir of a Fugitive Childhood, was surprised how much the unusual story of her childhood on the run connected with readers. She’s since heard from hundreds of people. “They often begin by saying, ‘My family wasn’t nearly as crazy as yours, but…,’” she says. “They are relieved to hear my story. It makes them feel they are not alone.” We are all far more interesting than we know, she adds. It’s just a matter of believing we have a story to tell. Image credits: Getty Images This article originally appeared on <a href="https://www.readersdigest.com.au/uncategorized/how-to-write-a-memoir" target="_blank" rel="noopener">Reader's Digest</a>.

Books

US school teacher sacked after reading Aussie book to class

A US primary school teacher is forced to resign or terminate her contract after reading an Aussie book to her class. Katie Rinderle, from Cobb County, Georgia wanted to teach her fifth graders about inclusion and acceptance through Aussie author Scott Stuart’s book, My Shadow is Purple. The book itself explores this through the theme of “gender beyond the binary” and the story of a child who neither identifies as a boy or girl. Rinderle discussed the main message behind the book before asking them to reflect and write their own poem, which has been praised by some parents. However, not all of them were happy about Rinderle’s initiative and one parent filed a complaint which led to an investigation. Rinderle was sacked for violating the Divisive Concepts law, which disallows teachers from educating about divisive concepts and was given the notice of termination on June 6. Investigators reportedly deemed the book to be “pornographic” material which included “inappropriate topics”. Stuart, the author of the book, responded to the situation and shared his “disgust” on <a href="https://www.tiktok.com/@scott.creates/video/7247741499775995137?lang=en" target="_blank" rel="noopener">TikTok</a>. “A teacher’s just been fired for reading one of my books,” he said in the video. “(She) had parents reaching out saying that this kind of lesson was something that they wanted in the class. This is a teacher who gets phenomenal feedback from the principal, the students, the parents. “Her teaching is described as transformative and key to the school’s success,” he defended Rinderle. “This whole thing just really goes to show how much more interested the school system in the US is in playing politics than they are in educating kids,” he added “It’s gross. It’s disgusting.”. Cobb County School District has responded to the situation in a statement to FOX 5 and claimed that any action taken was “appropriate considering the entirety of the teacher’s behaviour and history”. “The District remains committed to strictly enforcing all Board policy, and the law,” the statement concluded. Rinderle will face a termination hearing in August. <p style="box-sizing: inherit; margin: 0px 0px 5px; padding: 0px; border: 0px; font-size: 16px; vertical-align: baseline; color: #323338; font-family: Figtree, Roboto, Rubik, 'Noto Kufi Arabic', 'Noto Sans JP', sans-serif; background-color: #ffffff; outline: none !important;">Images: TikTok

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