Steven Erikson - The God Is Not Willing

Sickbed re-reading. (previously)

Dylan Marlowe - Mid-Twenties Crisis

Basically, there's the ones that anthem it up with emo-lite electric guitars and they're mostly my favourites (especially "Heaven's Sake" and "Hungover in a Deer Stand", the latter a genuinely excellent song I think), the more country-rock radio-ish ones that are mostly a bit too generic-sounding and in some cases offputtingly unironically down-home for me (although "Heart Brakes" is good), and the slower ones (all boring).

A Complete Unknown

I don't know, should it have been a surprise that the soundtrack and the songs were such a large part of why this was so engaging? James Mangold has form with musical films - Walk the Line was strikingly watchable - and this one's got Chalamet front and centre. Bob Dylan means something to me, but not in a way that I'm protective about - a good starting orientation for a movie about him (it focuses on the few years at the start of his career, but in a way that implicitly makes an argument about who he is at large). Anyhow I don't think A Complete Unknown is anything special but I liked it - for its subject, its music, its central performance, and the garnish of Edward Norton as Pete Seeger and Elle Fanning as Sylvie.

Valerian and the City of a Thousand Planets

A slept-on classic it isn't, but it's winning enough even on a rewatch. (previously)

Jennifer's Body

Yes it's a bit messy but the core of what Jennifer's Body has to say about gender and power is clear enough, and the black comedy / high school fizz take it a fair way.

Black Hawk Down

Remains as tense and gritty as ever, for all its obviously problematic elements.

Predator: Killer of Killers

The funnest part of this is the different historical settings, and it being animated worked well enough. The way it brought them all together at the end was kind of predictable and lacked a real epic feel though.

Jess Hill - "Losing It: Can We Stop Violence against Women and Children?" (Quarterly Essay 97)

Thoughts while reading this:

• Hill is strong on not focusing only on 'gendered drivers' (in the language of the National Plan) vs other more proximate factors like the impact of child maltreatment and trauma, mental health disorders, alcohol and gambling, and upfront about the historical context behind the hard-won focus on primary prevention and a feminist perspective. At times it feels like it's getting a bit close to a straw person but her argument is that the balance is wrong - and, implicitly, that it has suited governments to maintain this since it was put in place in the first overdue wave of reform from 2008 onwards.
• A lot on child and adolescent sexual violence and abuse - within intimate partner relationships, directed towards siblings and caregivers, and in other contexts. Evidenced by ACMS and otherwise.
• Rates of domestic, family and sexual violence not falling. Hill questions the dominant view that this is being driven by increased reporting. Another question that comes up: could this be driven by the social and technological trends that she points out elsewhere (alienation of boys, access to harmful material online, manosphere), ie a current going against whatever positive effect primary prevention and early intervention efforts are having?

See What You Made Me Do remains one of the most stunning non-fiction books I've ever read. And for all the contention around the bomb that Hill threw last year with her public criticisms of Australia's approach on primary prevention it's hard to see her as anything other than an enormous force for good on this topic.

Doctor Strange in the Multiverse of Madness

I liked the more off-the-wall visuals, the little horror elements, and Benedict Cumberbatch but as a movie this is a bit of a mess, and noticeably not at all stand-alone from the 'MCU'.

Esther Rose - Want

Want is a sweetheart of an album, carrying a good part of the charm that made How Many Times in particular such a winner (especially on early highlight "Had To" with its tuneful verse/chorus, surprising bridge and rapidly climbing guitar solo) and adding rockier, noisier elements that produce some of its best moments in songs like "Ketamine", "Rescue You", "New Bad" and "The Clown". There's something endearingly slightly unpolished about the whole affair - it feels easy to imagine these as a set of songs written by someone you might know ... which is in the record's favour, not to its detriment.

Andor seasons 1 & 2 / Rogue One

Andor lived up to the reviews - staying focused the whole way through on the perils and costs of resistance in the face of tyranny, spies and soldiers, with a grittiness and grasp of the dramatic that make the action-y sequences to which it periodically builds up almost a surprise and the more exciting for it, without becoming the point. 

Star Wars has never been personally important to me, but I only needed the general cultural awareness of it that we all have to fill in the blanks with Andor. And, of course, I've seen Rogue One before; on this rewatch, post-series, it naturally gains resonance from knowing Cassian's back story and indeed the whole back story of the rebellion leading up to the movie's events, but also suffers by comparison to the longer-form story-telling that's retrospectively proceeded the events that it depicts itself (Jyn's rise to heroism feels abrupt when compared to the Cassian's tortuous road).

Geelong Art Gallery

The John Norman Mann Bequest

A bequest directed to contemporary art, with a particular focus on First Nations practices and works by non-Indigenous artists inspired by the natural world. Some real highlights across these rooms.

Below: Judy Watson - "standing stone, kangaroo grass, bush string" (2020) & Angelina Ngal - "Bush plum Dreaming" (2010)

Also (possibly from the general permanent collection, I'm not sure): Cricket Saleh - "This too shall pass" (2018):

"Yvonne Audette - Observation and Experience"

"Moving squares" (1959)

"Modern Lives - Prints by Australian Women Artists 1900s-1950s"

Ethleen Palmer - "Honeyeater" (1935)

Helen DeWitt - The Last Samurai

This really is an unusual, and unusually good, novel. Everyone in it feels like a character in a book - Ludo and Sibylla most of all - but The Last Samurai as a whole feels somehow true, in a way that doesn't require the reader to fully agree with what it's saying about the potential for human learning and development in a society less bounded that ours (which I'm not sure I do), while bringing to life both the ideas and the characters who populate its story. 

The humour is welcome and often unexpected, the pathos likewise - and the way those two are sometimes combined. The fizzing formal shifts and interventions - capital letter toddler-speak interruptions, intermittent streams of consciousness, extended excursions into language pedagogy across multiple languages - feel apt and not overly determined. It's like DeWitt has written something that's more or less a conventional novel but just molded in ways that make it actually very unconventional, and very enjoyable and thought-provoking. Whether it will linger in a more profound way, emotionally or otherwise, I'm not sure - but reading it was a different experience and a fluent one, which itself is pretty rare.

On at the Counihan Gallery

Three installations each by Australia-based artists with Asian cultural heritages who identify as queer. 

From "Fairy Tales from the Celestial Garden" - Jayanto Tan

From "Put Your Head on my Shoulder" - Andrew Chan

Also: "Yellow Paint" - Mark du Poitiers

MJ Lenderman - Manning Fireworks

This is great! It comes in a package that maybe lends itself to being dismissed - another guy wielding an electric guitar, indie folk rock styles, and a wry, nasally dry singing-songwriting voice. But all the songs are good, the electric guitar is good, there are surprises, and in moments it reaches something even better.

"David EOY 2024"

Mostly breezily indie-sounding pop and crunchy guitars, plus quirks. My favourites - "Rip Off" (Momma), "Cheapskate" (Dune Rats), "Oysters in my Pocket" (Royel Otis), "Like I Say (I runaway)" (Nilüfer Yanya), "May Ninth" (Khruangbin).

Rebecca Solnit - Recollections of My Non-Existence

I suppose by definition any memoir by Rebecca Solnit would be Solnit-esque. What that means in Recollections of My Non-Existence - which I of course enjoyed very much - is that we get the personal perspective combined with the philosophical and social concerns that animate all of the writing ... but somehow without a great deal of psychological interiority. Which is not exactly a criticism in this case but more a feature. I do think that much of the pleasure I got from this one was possible because I'm already in some deep with her writing and work.

Encanto

High quality, with a lot of that due to the songs - music and lyrics - which add depth.

Station Eleven

Impressive how much this series is infused with the same mood as the book, while genuinely adapting (not just transposing) it for the tv format with some significant departures from the source that have the effect of putting the two - book and show - in a conversation that results in a new whole. Station Eleven the book clearly tapped into something, and so too the show - something mythic.

Rebel Ridge

 Tight modern Western.

Queensland Art Gallery

On was the 11th annual Asia Pacific Triennial of Contemporary Art; I was pretty piecemeal in how I took it in given this was a bit of a snatched visit, but I liked Katsuko Ishigaki's Okinawa paintings with their US military bases, vivid blurriness and willingness to highlight the elements of their own inner composition, and Mit Jai Inn's installations which made good use of the central hall.

"View of Henoko-Oura Bay from Sedake Hill" (2023-24)

Also "Suburban Sublime: Australian Photography" which was smallish and overall not as engaging as its theme seemed likely to be, but it did remind me that Bill Henson's work, for all its over familiarity and the overly familiar discourse about its subjects and surfaces (admittedly a discourse that does continue to become more complex over time), really does have a whoosh to it - a reminder I get nearly every time I see any of it.

"Untitled #76" (1985-86)

Marisha Pessl - Darkly

The concept is fun, the execution solid enough without rising to any great heights.

"Yayoi Kusama" (NGV International)

In a way Yayoi Kusama has crept up on me over the years. I've liked her quite a lot for a long time now, including some memorable encounters - the pumpkins on Naoshima, the illuminated ladder to infinity at the NGV (and in Our Magic Hour) - but I don't think I've ever really focused on her art as a body of work. I suspect a large part of that's been because both the surfaces of the art (the dots!) and the persona of the artist loom so large, making it difficult to properly see the works themselves, in their own right and as a whole.

Things I was struck by in this large survey:

• The correspondence with Georgia O'Keeffe
• The obsessive, repetitive work from early on
• The dots also being from early on
• The pumpkins, in a good way
• 'Self-obliteration'
• The darkened celestial mirror rooms have maybe always been my favourites, eg "Chandelier of Grief" (2016) below

(w/ Jade)

"Current: Brian Robinson" & Sculpture Park, McClelland Gallery

Been a while since I made it out here and this visit was mostly for the sculpture park. Those that most stood out tended to be the most monumental, and a couple for their whimsy. I might be wrong but my impression is that the artists represented in the park are notably un-diverse, seeming to lean heavily towards older white men.

Dean Collis - "Rex Australis: The king is dead, long live the king", 2012

Andrew Rogers - "The winding path, the search for truth", 2010 and (in background) "Gaia", 2014

Sebastian di Mauro - "Snuffle", 2002-03

Peter Blizzard - "Halo moon shrine", 2005

Roman Liebach - "Wharf spears", 2005

John Kelly - "Alien", 2006

R. F. Kuang - Babel

At the very least, Babel is interesting in multiple ways - an undisguised and undisguisedly angry polemic on the harms of colonialism wrapped up with an interrogation of the role of language and translation in empire and cross-border understanding, and of strategies of social change (including the necessity or otherwise of violence, and the toll that it takes), and delivered through a mostly pretty gripping alternative-historical fantasy story. 

It's repetitive, didactic, heavy-handed and more - yet these scan more as texture than as flaws, part and parcel of the particular thing that Babel is, and even admirable as indications of the novel's willingness to depart from some conventional markers of literary quality and tastefulness. There's not a lot else like it that I've read.

Gladiator II

In the shadow of the original, almost by design. 

Mission: Impossible 1-8

I've watched all of these before except #3; taken as a whole they sure are entertaining. 

Moana 2

The first one is my favourite of the Disney animations I've seen - relatively unproblematic (a low bar) with an engaging lead character (relatedly) and good music. The sequel is just fine, nothing more, and mainly because of the built-up goodwill from the first. I would've liked to've seen more of Matangi who actually seemed like a character, as well as having the best song.

(w/ R, L, J & H)

"An Insatiable Appetite for Pictorial Adventure: William Blamire Young" & "five letters cinque lettere: Filomena Coppola" (Mildura Arts Centre)

Supposedly Blamire Young is known as the master of Australian watercolour but I didn't get much from him. I could see the technical proficiency but some of his work seemed almost to be trying to create oil painting-like effects, to which I basically felt, what was the point.

I liked the Coppola exhibition, which was about the experiences of post WWII Italian migrants to the Sunraysia region, its title and theme coming from the five letters of the English alphabet that aren't in the Italian alphabet: j, k, w, x and y.