The Sum of All Fears * Sherlock Holmes (movie)* Sherlock Holmes: A Game of Shadows * Like Water for Chocolate * Logan * Iris * Robin Hood (2010) * Hidden Figures * Last Cab to Darwin * Maya Angelou: And Still I Rise * Moana * Doctor Strange * For the Love of Spock * Wonder Woman * The Mummy (2017) * The Fate of the Furious * The Zookeeper’s Wife * Kong: Skull Island * Fantastic Beasts and Where to Find Them * Searching for Sugarman * The Hobbit: The Battle of the Five Armies * Thor: Ragnarok * The Last Jedi *
The Italian Job (2003) * Arrival * The Expendables 2 * Gone in Sixty Seconds * Master and Commander * Gladiator * Spy Game * The Abyss * The Martian * Under Siege * Escape Plan * Arrival (yes, again) * Rogue One * Mad Max: Fury Road * Ghostbusters (2016) * Sahara * The Mummy * Mission Impossible: Rogue Nation * Rogue One (yes, again) * Wonder Woman * Ocean’s Eleven * Iron Man * Iron Man 2 * Iron Man 3 * Grease 2 * The Poseidon Adventure * The Towering Inferno * Thor * Thor: The Dark World * Men in Black * Men in Black II * Men in Black III * Jurassic Park * Charlie’s Angels * The Dark Knight Rises * Charlie’s Angels: Full Throttle * Ocean’s 11 * Ocean’s 12 * Ocean’s 13 * Star Wars: A New Hope * The Empire Strikes Back * Attack of the Clones * Revenge of the Sith * The Force Awakens * Harry Potter and the Prisoner of Azkaban * Interstellar
Dirk Gently’s Holistic Detective Agency (Netflix 2016) * Ascension * A Series of Unfortunate Events (Netflix) * Arq * Person of Interest (season 2) * Person of Interest (season 3) * Person of Interest (season 4) * Chef’s Table (season 1) * Person of Interest (season 5) * The Blacklist (season 1) * The Blacklist (season 2) * Agents of SHIELD (season whatever we’re up to) * The Blacklist (season 3) * Orphan Black (season 5) * The Good Place (season 1) * The Blacklist (season 4) * Wynonna Earp (season 1) * The Expanse (season 2) * Glitch (season 2) * Doctor Who (season what, ten?) * Cake Master *
Some Doctor Who bits and pieces.
This book was sent to me by the publisher, Monash University, at no cost. This review initially appeared in the History Teachers of Victoria journal, Agora.
The year I got back to teaching Year 9 history I happened to visit Canberra. I wasn’t that keen on the Australian War Memorial – not being a huge fan of military history – but my co-traveller wanted to, so we did. Knowing that I would be teaching something about the conscription debate as part of our history unit, I looked out for what the AWM might say about it. I found it in the 1916 room on the First World War: a single display, showing some postcards from the Yes and No campaigns, accompanied by very little explanation about the situation. When we got to the book shop, I asked whether they had any books on conscription or, failing that, any books on the home front with information about the debate. No, they didn’t.
It turns out I shouldn’t have been surprised at the lack of books on the conscription debate; there hasn’t been a “book length treatment of the conflict since Leslie Jauncey’s effort to document some of the key actors, developments and sources in 1935” (p6). This is amazing and, frankly, depressing, since it “was a defining feature of wartime Australia” (p2) and “unique… quite without precedent – not just in Australia, but anywhere in the world” (p3). The aims of The Conscription Debate are manifold: to offer new interpretations; to compare the Australian experience with other English-speaking countries at the time; and – most provocatively – to “intervene in current debates about how to understand the war by contributing to a more accurate and rounded picture of how it was experienced” (pp6-7). The authors do meet these aims – not always in a great deal of detail, given the length of the book, but sufficiently to give an overview of the issues.
Chapters 1 and 2 (Douglas Newton and Robin Archer) make up Part 1 and set out the philosophical and political context of the conscription. These were the two chapters I found most difficult to follow. I think they would be best read with at least some understanding of nineteenth-century British and Australian political philosophy, especially of what it meant to be ‘liberal’ at that time, as well as an understanding of the ins and outs of contemporary British politics more generally. This is not my area of expertise, so I found myself floundering through the discussion of Liberal Imperialists and New Liberals and Little Englanders. Nonetheless, these chapters are important to the overall picture this volume is putting forward: that the traditions of liberalism, and the existence of the labour movement, are fundamental to understanding the conscription debate.
Part 2 consists of Chapters 3 (on the Antis); Chapter 4 (on the Yes campaign at the University of Melbourne); and Chapter 5 (an examination of the poll results in both 1916 and 1917). In Chapter 3 Frank Bongiorno gives a clear, if brief, overview of some of the incentives for voting no: tyranny vs freedom, women as mothers, and (embarrassingly) ‘keeping Australia white and free’. He speaks not just of the well-known names like Daniel Mannix but also those who have largely slipped off the historical radar. In Chapter 4 Joy Damousi looks at a group of Melbourne University academics such as Alexander Leeper and Jessie Webb who actively campaigned for conscription, pointing out that the yes campaign has rarely been analysed “as a set of arguments or as a movement in its own right” (p93). Such arguments included the suggestion that voting no would significantly contribute to a German victory and Australia becoming a German colony, and that it was democracy that was at stake in this war – so citizens must “show themselves worthy of these freedoms” (p101). Intriguingly, many of these academics went on to be involved in the League of Nations Union. In Chapter 5, Murray Goot undertakes a detailed examination of election results to try and understand voting patterns amongst Labor voters and not, in metro and regional areas, among women, British and German migrants, and between Catholics and Protestants. This chapter is not for those afraid of percentages, but for those interested in the history of Australian voting it is deeply fascinating.
John Connor (Chapter 6) and Ross McKibbin (Chapter 7), in Part 3, match Part 1 in a sense: they put the Australian conscription debate into international context by comparing experiences in other English-speaking countries. Connor gives a chronological overview of English-speaking countries, all of which instituted conscription in some form, while McKibbin provides a more detailed comparison of Britain and Australia. These two chapters highlight the remarkable nature of Australia’s experience at the time, since nowhere else put the question to its citizens in the same way. It also suggests that this issue of conscription and how citizens respond is one that warrants further research.
Finally, Sean Scalmer in Part 4 gives an overview of how the conscription debate – and especially the Antis – have been remembered in Australian history: from being a labour-movement legend to its eclipse thanks to conscription in World War 2 and, more recently, how it fits in with “the broader revival of Anzac commemoration and enthusiasm” (p206). Deeply interesting, this chapter too suggests that there is a lot of room for further research.
One issue I had with the book overall was the use of the word ‘referendum’. My understanding was that non-binding polls like this, which were not asking to change the constitution, were properly called plebiscites. Most of the authors in this book call it a referendum… except Frank Bongiorno in Chapter 3. I would have appreciated some discussion of the terminology, and an explanation for the words used (also consistency).
This is, to coin a phrase, the book on conscription we had to have – because it’s essentially the first. It’s not the book on conscription I wished for; that imaginary book has a lot more about the individuals (I adore Vida Goldstein) and groups that were campaigning both for and against the issue. But The Conscription Conflict does an admirable job of reminding us why 1916 and 1917 were important years for Australia outside of the fighting going on in Europe; it sets out areas that need further research; and hopefully, it will serve to inspire someone (or many someones) to dig deeper into this fascinating period in Australian history.
This book was sent to me by the publisher, Hachette, at no cost. This review first appeared in the History Teachers of Victoria journal Agora.
If you are especially keen on the history of the Byzantine Empire, or the Eastern Roman Empire, like me you might have bought the classic John Julius Norwich trilogy. Again if you are like me, you may have got to the end of the second book and thought, “No more!” Despite that, the city at the heart of that empire (thrice-named, eat your heart out New York) has always enthralled me – and, Bettany Hughes suggests, has fascinated, enticed, and aggravated people for a good few thousand years.
Firstly: don’t be put off by the page count. Those 800 pages include an extensive timeline, detailed (and interesting but not imperative) endnotes, a thorough bibliography and an index. At 600 pages, with often quite short chapters, this is a very approachable book for such a complicated subject.
Hughes attempts to do two things in this book, and generally succeeds; she calls it “an organic examination – an archaeology of both place and culture” (6). It is a chronological examination of the development of the city now called Istanbul – the invasions and innovations and growth through successive regime changes (although “not a catch-all of Istanbul’s past” (3)). However, woven through that is a social history of the people who made the city what it is. This includes such luminaries as Theodora and Constantine and Süleyman II, but also the everyday people who made the city function. There are chapters, for instance, on the presence of eunuchs in Constantinople, and the realities of the harem (insofar as they can be known), and the Varangian Guard. Hughes includes discussion of the various peoples who threatened, worked with, and generally impacted on the city (Goths, Vandals, Vikings, Turks). In doing so she naturally expands her focus beyond the city walls, but this is unavoidable when dealing with the likes of a city such as Byzantion. Indeed, it adds greatly to the context of the book: how to understand the numerous Muslim sieges and eventual conquest of the city without an understanding of the growth of Islam? How to understand the birth of Turkey as a country and the move of the capital to Ankara without the context of the First World War and the internal Ottoman politics of the time? And so on. Hughes does a magnificent job of weaving all of these pieces together into a coherent whole.
Nominally the book’s narrative stops at 1924; there’s a chapter after that about Istanbul’s future, but it’s a fairly sweeping overview of the following ninety years. However, something that I very much enjoyed and which added to the book’s approachability is that Hughes makes occasional reference to contemporary events from when she is writing (2016). A passing reference to Prime Minister Erdoğan acting in a similar fashion to Justinian, preparing “to take his money and to fly” (219), points up similarities in situations that may provoke and intrigue the reader. Describing the city as “well designed for rioting” and using the Gezi Park/Taksim Square riots to indicate this truth in 2013 (when Hughes was herself in the city), and then proceed to discuss the AD 532 Nika riots, suggests a continuation in the city’s physical existence that is extraordinary over that span in time.
One of the most captivating aspects of Hughes’ book is her wonderful use of archaeological evidence. There are frequent references to discoveries made in Istanbul and elsewhere around the world, and how the goods and structures uncovered are continuing to change historians’ and archaeologists’ understandings of different periods. For a historian to remind her reader that the story of a place is not completely known is refreshing. She contextualises these sites, too: to find “one of the few scraps of evidence for one of the most remarkable phenomena of the medieval world” (the Varangian Guard), one passes “young men push[ing] second-hand mattresses… on wooden carts and kids sort[ing] through piles of redundant television aerials” (321). This provides a visceral feel for the city as it is today – a living city, not abandoned; a city continuing to leave behind remains for future archaeologists to sift and puzzle through. Hughes also has a lovely sense of humour that occasionally pokes through: in discussing the archaeological finds at Tintagel (which indicate trade connections between that part of England and the Byzantine world), she describes the finding of the graffito reading “Artugno” as “[u]tterly unhelpful for the historian but irresistible for the tourist guides” (292).
Another aspect of Hughes’ attitude towards the city and her people over time is the sympathy she displays. In speaking of the development of iconoclasm, for instance, which she says historians have “[o]ften described… as an irrational, typically ‘Dark Ages’ response” to the consequences of the Theran volcanic eruption in AD 726, Hughes insists “we have to pause for a moment to think of the horror of Thera’s eruption” and proceeds to describe the physical realities of such an eruption (300). This is a lovely moment of historical empathy that enables the reader to glimpse life for an eighth-century Byzantine.
As a physical object, it’s well-designed. The cover is perhaps predictable but gorgeous nonetheless. There are three sets of colour plates, covering a range of people and events, and many black and white images throughout. Each section (there are eight, each representing some important change in Istanbul’s history) has a series of maps at the start, showing changes in the city as well as context such as the reach of the Byzantine or Ottoman Empire over time (there is one section where the map, which goes over two pages, is split by the colour picture insert; that was a bit irritating).
Hughes’ passion for Istanbul – for the history of the place and for the contemporary city – come through across the volume. She delights in all aspects of its history and she wants the reader to share that with her. As an introduction to the complexity of the city’s history, as a history of a place that has impacted on European and Asian history for 2500 years (and was inhabited for many thousands of years before that), and as an example of how history writing can be made approachable, this is a fabulous book.
Gerry Canavan wrote a fabulous essay in Luminescent Threads about ‘disrespecting Octavia’ – about whether or not work in Butler’s archives that remains unpublished ought to be published now, against her wishes. It’s a thoughtful essay that acknowledges it’s not an easy question to consider, and makes the unpublished work sound fascinating while admitting its flaws.
I knew Canavan was writing a biography of Butler when we asked him to write for us, and I’d been meaning to get hold of it… well, all year. I finally did and I finally read it and it is exactly as wonderful as I had hoped.
To call it a biography isn’t quite accurate. It is that, to an extent; you certainly learn the outlines of Butler’s life, and Canavan is quite explicit in looking at the struggles Butler faced in finding the time to write, how much re-writing she did because she wasn’t happy with work at various points, and other aspects of her life like receiving the MacArthur fellowship and so on. But this is also an extended critique of Butler’s work – both published and unpublished, because one of the amazing things about this book is that Canavan had access to the many hundreds of boxes of papers that Butler left when she died so suddenly. They’re stored at the Huntington, and their finding guide alone is over 500 pages in length.
Makes me want to start printing out and filing emails.
Each of the chapters is based around a particular creative period in Butler’s life, which I liked because it foregrounds that the creative output is the focus of the book but/and that it happens in tandem with the actual events in Butler’s life. Canavan traces themes across her work, as well as the ways in which so much of her fiction (12 published novels and 9 short stories!) can be seen as connected to one another: through early drafts and plot ideas as well as the motivating ideas. It makes me desperately want to read some of that unpublished work when I read about what she was trying to do in them… although Doro/Jesus sounds a bit weird even for me.
This is not a long book and it’s not a dense book. It’s not a nitty-gritty, every-day-at-a-time biography, and it’s not a highly technical literary analysis – it’s far more approachable and engaging than either of those would be. This is a book for people who love Butler’s work and want to know more about her and her work. It works brilliantly.
This book was sent to me by the publisher, Hachette, at no cost. RRP $32.99 trade paperback; it’s available now.
This is a great idea for a book, obviously; it’s similar in concept to Cranky Ladies of History although with a more pointed political stick, given the timing.
So… look. I have a few issues with it. Some of these are particularly my issues and may not be a problem for other people. So let me start with the good things.
- There are women in here I’ve never heard of. And that includes in the historical section, not just in the more modern sections. That’s awesome. And is largely because…
- The women aren’t just European. That is also awesome. The opening section on Wonderful Ancient Weirdos includes Seondeok of Silla (Korea), Khayzoun (Yemen/ Baghdada), and Subh (Basque/Cordoba), as well as Sappho and Hatshepsut and others.
- It acknowledges some of the problems with sources, and that info about women can be hard to come at. Too true.
But. Hmm. I’m actually writing this review before I finish reading it, for two reasons. It’s going to take me a long time to read because each entry is only a couple of pages long, and I find that exhausting… and I’m not sure I actually will read the whole thing. But since I got it to review, I wanted to write something about it close to publication.
The above points are absolutely reasons to buy and flick through this book. It’s got a bit of swearing so it’s not quite right for ten year olds, but 15 years olds? oh yes. Do it. Have it on the shelf ready to pull out to point out just a few examples of women being awesome scientists or what have you. However… like I said. Some things rub me the wrong way.
- The introduction includes this: “Where there are mistakes, forgive me. I have done the best I can, and it turns out there is a lot of history out there which I have shoved into my eye sockets. processed through the lukewarm innards of my brain, and squeezed through my fingers. It’s inevitable that some things will have gotten lost on that perilous, squidgy journey” (4). And… it really made me uncomfortable. Why is she disparaging her intelligence? Why is she blase about mistakes? By all means acknowledge there may be some, and I know she’s being humourous, but this way of presenting just irked me.
- The first chapter is “Wonderful ancient weirdos”. I guess she was going for alliteration but these are powerful women she’s discussing, and she’s calling them weirdos? That’s sending the wrong message, in my book.
- Also on this chapter: ancient? Uh, no. Hatshepsut, sure. Sappho, yes. But Margery Kempe, Hildegard von Bingen, and the others are all medieval, or at best early medieval. These terms matter, for me, because the context is important. Everything before the Industrial Revolution is not ancient.
- I don’t love the language. No, this isn’t a tone argument. This is definitely the most idisyncratic complaint, and your mileage may well vary. For instance, Hildegard’s regime described thus: “The strict regime of the convent demanded that each day the nuns have… eight hours of manual labour, which entailed, I dunno, putting up retaining walls and stuff” (26). That’s irksome for me.
- Verging on not caring about historical accuracy: “This is my book, and everyone gets laid” (10), on whether Hatshepsut and her chief advisor were lovers. Just nooo.
- Historical accuracy again: I skipped to the chapter on Alexandra Kollontai, and I can’t tell you how pleased I am that she got a chapter! but it says that International Women’s Day was February 7th by the Russian calendar, in 1917… but it was Feb 23. That’s just careless. Also? “Sorry, New Zealand, I know you gave women [the right to vote] in 1893, but you’re just so little and far away” (376). Far away from whom? Are only Americans going to read this?
- The end of Seondeok’s chapter: “Ugh, men” (18).
- Also, they’re not arranged in chronological order, within their thematic chapters, and that drives me batty.
- Also not in order, this time alphabetical, is the Old People Glossary, which in itself (despite my comments on the language) is quote amusing. I’m fine with using modern slang in these sorts of biographies; I think it can make them much more approachable. But why, why would you not put the words in alphabetical order??
So… there you go. Decide for yourself how annoying these issues are vs having a handy reference to Kollontai and Rosa Luxembourg, Mergery Kempe and Sappho, Queen Nanny of the Maroons and Sojourner Truth, Hypatia and Nana Asma’u and 92 other women on the shelf.
This book was sent to me by the publisher, Allen&Unwin, at no cost. RRP $19.99 and available now.
This book consists of two lectures given by Mary Beard, Roman history professor and all-round awesome person, for the London Review of Books in 2014 and then 2017. I had seen the film of the second one, which was neat because I really (ironically) like Beard’s voice and intonation so that was an added bonus.
The first chapter is “The Public Voice of Women”. Beard presents a number of examples of how women were silenced in the Greek and Roman worlds, and then uses those instances to illuminate how women are silenced in the modern Western World, as well as how women’s voices (literally and metaphorically) are portrayed. She does not suggest that everything about the modern West is founded on classical traditions – and is at pains to point that out – but her examples make it very clear how many expectations and perceptions can be traced back that far. The examples she gives from her life (being described as whining, for instance, or told to shut up) as well as examples of other women will be all too familiar to many women – and this has happened to women in classical texts since way back. This is important because those texts are used and studied still, and have been/still are seen as… if not imprimaturs, then still worthy of examination. And so they continue to pervade modern Western society.
Beard notes in the Afterword that she avoided making big changes when it came time for publication – this lecture was given in 2014, with Obama still president of the USA and Theresa May not yet PM on the UK. The afterword was written in September 2017… thus before the current spate of #metoo and sexual harassment/abuse accusations. So perhaps even more than she could have expected, this (and the second chapter) are necessarily of their times. Beard’s points still stand, though, of course. Beard doesn’t pretend to have all the answers; she’s pointing out the issues, making sure they’re not just accepted as ‘the way things are’ – and does suggest that we need to “think more fundamentally about the rules of our rhetorical operations… go back to first principles about the nature of spoken authority, about what constitutes it, and how we have learned to hear authority where we do” (40). Including women not thinking they need to deepen their voices to get more cred (guilty).
The second chapter on “Women in Power” was presented this year, which means it does deal with some of the depictions of May and Hilary Clinton… including some appalling versions of Clinton as Medusa (and Trump as Perseus??). Beard says insightful things about what power is, and how we think about it, and the language around it… and that when we talk about women ‘knocking on the door’ or ‘storming the citadel’ or ‘smashing the glass ceiling’, well: we “underline female exteriority” (57). Which horrified me when I realised its truth. Because she’s right, and while women are largely outside of power we need to write, and speak, ourselves in. But also: “if women are not perceived to be fully within the structures of power, surely it is power that we need to redefine rather than women?” (83). Yaaaasss.
This is a book I’ll be revisiting over and over, to remind myself of the reality I live in and to give myself encouragement to keep on. Things can change and it’s easier when we know where some of the problems lie.
Also, I need to read Herland and then re-read “Houston, Houston, Do You Read”?
I received this book from the publisher, Hachette, at no cost. It’s out now; RRP $32.99 for the trade paperback.
I love James SA Corey and his (their) capacity to write awesome words that simultaneously lift up the heart and rip it to shreds. Previously, on this topic, see these posts. If you’re already on the Expanse train, you don’t need to read a review; you probably already have a copy or you’ve got it lined up for Christmas or something. If you haven’t read them yet… well, if you’re into space opera and deeply compelling characters and an epic, long-running saga where the books get published on time (burn), and you’re not intimidated by this being book 7, you should just go get yourself Leviathan Wakes already and START READING.
I can’t talk about this book without spoiling the rest of the series. You’re warned.
… and further, perhaps with this book more than any other of the series, I can’t even really talk about the BOOK without spoiling it, and I want to give massive kudos to the blurb writer who managed not to spoil the first page which, folks, is such a game-changer that I had to re-read it a few times to actually grasp what it was telling me. My darling has seen the TV show and it’s killing me that I can’t tell him about the first page. This never happens, because we basically don’t ever read the same stuff, so I can spill my angst about characters or authors without spoiling him for things. But this time? Oh, no. Now he’s invested in the TV version and he doesn’t even want me discussing those things what happens to Miller.
So… the non-spoiler version is that as always we follow our redoubtable Roci and her crew. Unexpected and probably bad things happen to our solar system. I continue to really like Holden while simultaneously appreciating that he continues to be complicated, both as a person and in the way people view him; Naomi and Bobbie vie for my very favourite, while Amos and Alex aren’t too far off. I continue to want to be Avasarala when I grow up. I love the way that politics are presented – messy and fraught and difficult and lived-in and having serious consequences. This is not an easy future that Corey imagines for us. It’s just so damned human. Also, w00t for the Roman history overtones. There’s battles and there’s conspiracy and there’s making the wrong decisions and just being wonderfully human. Argh, I love it and it hurts my heart and I want the next book sooner than I’ll get it…
Spoiler below in case you’ve read it or don’t care…
This review first appeared in Crux, the magazine of the Astronomical Society of Victoria.
Amazing things happened at the Harvard Observatory around the turn of the twentieth century. Draper provided funding for photography of stellar spectra, while Bruce gave $50,000 towards a new 24-inch astrophotographic telescope. Pickering found the first spectroscopic binary, and Maury found the second; Fleming classified stellar spectra and discovered novae. Cannon worked on variable stars and explored the relationship between spectral type and magnitude; Leavitt also worked on variables and proposed the period-luminosity relation. Ames and Payne were Harvard’s first graduate students in astronomy.
Anna Draper, that is. Catherine Bruce. Edward Pickering and Antonia Maury. Williamina Fleming. Annie Cannon and Henrietta Leavitt. Adelaide Ames and Cecelia Payne. As Dava Sobel makes beautifully clear in The Glass Universe, women were fundamental to the astronomical work and discoveries at Harvard Observatory in its early years. This is a book in love with astronomy and its history that wants to ensure everyone who contributed—not just the now-big names like Hubble—is recognised.
Sobel points out three groups of women who contributed to astronomy. She opens her book by demonstrating how women contributed financially to astronomical work. Anna Draper provided money and telescopes so that stellar spectra could be investigated at Harvard, and endowed the Henry Draper Medal. This was done in honour of her late husband, but also reflected her own interests: she had observed with Henry, and helped with the photography; part of their honeymoon involved shopping for a glass disk for a 28-inch telescope, which the pair then ground and polished over years to transform into a mirror. At 73, Catherine Bruce’s vague interest in the stars was encouraged by Edward Pickering and by her death in 1900 her gifts totalled $175,000 (over $4 million today). Other women endowed telescopes, awards, and scholarships.
The second group, appropriately taking up most of the book, are the individual researchers at the Observatory. Most of them started as computers: examining glass plates, calculating visible magnitudes, cataloguing spectra. Some of the women worked on this for decades. Some undertook further work as their curiosity was sparked by the spectra they investigated, or the magnitudes they calculated, or they noticed interesting relationships between period and luminosity. These women published papers, and contributed to the papers of other astronomers, especially Pickering and Harlow; some of them were awarded annual medals, although not many; some were honorary membership to societies such as the Royal Astronomical Society, while Cannon was the treasurer of the American Astronomical Society. The work these women undertook was thanks in no small part to the unusual willingness of Edward Pickering and Harlow Shapley (yes, that Shapley), directors at the Harvard Observatory between 1877 and 1952 (Solon Bailey had two years as interim director), to not only work with women but encourage their independent work and acknowledge them in publication. Their work is therefore also acknowledged and discussed, since it would be impossible to separate it from that of the computers in particular.
The third group of women consists of the wives and other family members of acknowledged astronomers. Solon Bailey’s wife, Ruth, contributed to his observatons for the Harvard station in Peru, while Pickering’s and Shapley’s wives played crucial roles at the Observatory in making the whole place work. The third director’s daughter, Anna, became a computer. They are the least well served by the book; it is presumably difficult to uncover contributions if they weren’t acknowledged at the time.
Dava Sobel has not only written a compelling history of Harvard Observatory, and not only conducted a remarkable survey of the contribution of women to astronomy, but has also written an intensely readable book. There’s some wonderful scientific discussions included, about Cepheid variables and their importance to figuring out the size of the universe and the like—but these do not dominate. If you are looking for a book about the history of astrophysics, this is not it and does not want to be it. No understanding of astrophysics is required to read it. Rather, this is a history of the people involved; it has a little about their relationships with one another, but it’s mostly about the work; it sounds like most of them put their work first anyway, so that’s appropriate. It demonstrates just how much computing power was required a century ago to understand the heavens—when that computing power could be jokingly measured in “girl hours”, and sometimes “kilo-girl hours”. The women who worked at the Harvard Observatory were a crucial part of the astronomical community.
I received a review copy of this because, well, I asked my good friend Tansy if I could read it early and she said yes… it’s coming from Book Smugglers in December and you can pre-order it right now.
I have described this as a distillation of Tansy, and I stand by that. If you listen to Galactic Suburbia, or probably Verity! as well, you’ll find as you read this book that you recognise a lot of things. Not the characters, as such, nor the plot beats, but the themes. It’s superheroes and feminism, yes, which Tansy is definitely obsessed with. But more than that, it’s got romance (she’s been reading a lot of them), motherhood (there’s been a few essays on the topic in the last few years), queer representation and ethnic diversity (she’s a champion for those things). It’s got people discussing ‘old’ media vs ‘new’ media, and speculation about new new media; millennials doing excellent things and not taking crap from their elders; and a whole bucketload of snark and banter. And given her obsession with Press Gang and Lynda Day, it was only a matter of time before that came out in her fiction. Also, it’s sooo Australian.
So yeh. This is a very Tansy book.
But wait! You don’t know who Tansy is? That’s ok! You’ll still enjoy this novella if you’re interested in superheroes, and especially if you’re interested in superheroes beyond them just punching villains and swooshing in capes. This is set in the universe of “Cookie Cutter Superhero” from Kaleidoscope and “Kid Dark Against the Machine” – and if you liked those, you’ll be super excited to know that some of the characters recur here (you can definitely enjoy this cold but it’s so worth reading those other two stories anyway). It’s a world where machines mysteriously appeared, many years ago all over the world, which turn ordinary people into superheroes with different powers (and outfits) – and return them to normal again too. The stories are set in Australia, and while the first two deal with superheroes themselves this one is specifically focussed on Friday Valentina, a vlogger with a famous mother and a variety of baggage. Her vlogging focus is superheroes and they do end up being very… involved… in the story.
It’s a hugely enjoyable story that also says some sharp things about a variety of relationships, and about Australian politics in passing too. I’m rather hoping there might be more stories in this world to come…
If I tell you that reading this was like reading Angela Slatter, I think you’ll get a feel for the fact that I adored it, and for I the style of these stories.
Forsyth and Wilkins have written a set of stories that, until the last one wraps back to the first, go progressively further back in time – but always set in and around the same village in England, Cerne Abbas. In a way, it’s similar to those books of James A. Michener that I’ve read (Space, The Source) and Edward Rutherford (London, Sarum): they follow a place and a family. But these stories are generally on the more positive end, where those aren’t always; and they’re also tending towards the fantastical, which those men veer away from. Plus, neither of them ever had illustrations by Kathleen Jennings at the start of their chapters.
The book opens with Australian Rosie returning to the English childhood home of her grandparents after heartbreak, in 2017. The stories then progress back to World War 2, the 1850s, the time of the English Civil War, that of Henry VIII, the first millennial crisis of 999AD, and that of the Celts as the Romans arrive. In each case there’s some specific issue of the time that ties into the very personal experiences of the people living in Cerne Abbas, and the individual at the focus of the story. And they never stray very far from the village and its titular well.
These stories are a delight. They’re sympathetic without being cloying, sensible without being heartless; they are stories that know what it means to be human and that sometimes what’s required is hard advice, but sometimes it should be a shoulder to cry on. There’s love and loss, evil and saintly behaviour… it’s not clear exactly what each story will give you when you start reading, except that it will be sad ad mildly traumatic and possibly heart wrenching. Also, beautiful.
I really loved this collection.