In this searching and eloquent book, Inga Clendinnen explores the experience of the Holocaust from both the victims' and the perpetrators' point of view in an attempt to extract the comprehensible—the recognisably human—from the unthinkable.
The newest selection of essays from one of Australia's finest historians and writers.Agamemnon's Kiss is a thrilling selection of essays by one of Australia's most celebrated writers.Inga Clendinnen writes about everything from the books that terrified her as a child to what history can teach us about ourselves and our own times. She describes visits to the beach and to a museum dedicated to the Holocaust. She recounts the experience of falling ill and the prospect of death. And she writes movingly about other people who have changed her own life.Many of the themes which are central to Clendinnen's work are teased out in Agamemnon's Kiss- Selected Essays, the way we think about the Holocaust and its perpetrators, and the investigative power of history.
In 1521, the city of Tenochtitlan, magnificent centre of the Aztec empire, fell to the Spaniards and their Indian allies. Inga Clendinnen's account of the Aztecs recreates the culture of that city in its last unthreatened years. It provides a vividly dramatic analysis of Aztec ceremony as performance art, binding the key experiences and concerns of social existence in the late imperial city to the mannered violence of their ritual killings.
This is both a specific study of conversion in a corner of the Spanish Empire, and a work with implications for the understanding of European domination and native resistance throughout the colonial world. Dr Clendinnen explores the intensifying conflict between competing and increasingly divergent Spanish visions of Yucatan and its destructive outcomes. She seeks to penetrate the ways of thinking and feeling of the Mayan Indians in a detailed reconstruction of their assessment of the intruders.
Aztecs provides a vividly dramatic analysis of Aztec ceremony as performance art, binding the key experiences and concerns of social existence in the late imperial city of Tenochtitlan to the mannered violence of their ritual killings.
In January 1788, the First Fleet arrived in New South Wales, Australia and a thousand British men and women encountered the people who would be their new neighbors. Dancing with Strangers tells the story of what happened between the first British settlers of Australia and these Aborigines. Inga Clendinnen interprets the earliest written sources, and the reports, letters and journals of the first British settlers in Australia. She reconstructs the difficult path to friendship and conciliation pursued by Arthur Phillip and the local leader 'Bennelong' (Baneelon) that was ultimately destroyed by the assertion of profound cultural differences. A Prize-winning archaeologist, anthropologist and historian of ancient Mexican cultures, Inga Clendinnen has spent most of her teaching career at La Trobe University in Bundoora, Australia. Ambivalent Conquests: Maya and Spaniard in Yucatan (Cambridge, 1989) and Aztecs: An Interpretation (Cambridge, 1995) are two of her best-known scholarly works; Tiger's Eye: A Memoir, (Scribner, 2001) describes her battle against liver cancer. Reading the Holocaust (Cambridge, 2002) explores World War II genocide from various perspectives.
In QE23, acclaimed writer and thinker Inga Clendinnen looks past the skirmishes and pitched battles of the history wars and asks what's at stake - what kind of history do we want and need? What are the differences between memory, history and myth? Clendinnen discusses what good history looks like and, more specifically, what good Australian history looks like. She looks at the recent spate of books on our beginnings as a colony, as well as the vogue for popular story-telling accounts of key events in our past, such as Gallipoli. Why is there now a gulf separating popular writers and the historical professions? This is a characteristically original and eloquent essay that looks anew at one of the most divisive topics of recent times- how we as a nation remember the past.
The ghosts swarm like angry bees...the early wars, the Stolen Children report, the devastating health statistics, the extravagant incidence of self-destructive acts among Aboriginal adolescents...There has also been a great deal of talk about ‘guilt’ and ‘shame’, and what precise mixture of each non-Aboriginal Australia should be feeling. Inga Clendinnen believes that democratic people need true stories about their past. In this engaging essay, based on Clendinnen’s 1999 Boyer Lectures, she argues for the rejection of any single, simple account of the Australian past. The reader catches the experience of individuals through fragments—a woman being manhandled on a beach, an old man remembering the hard lessons of his boyhood in a Jesuit mission, an old woman urgently dancing the history of her country. What whites have done to indigenous Australians has been described as the ‘locked cupboard’ of Australian history. Now, ‘the cupboard is locked no more’. This frank and challenging review of race relations in Australia helps us cast off prejudice and foregone conclusions and to look with fresh eyes. It enables us to understand better how this nation came to be what it is today.
• On the first anniversary of her death, Inga Clendinnen’s highly awarded Dancing with Strangers joins the iconic Text Classics list • A seminal work of non-fiction, Dancing with Strangers is a close analysis of the initial encounter between the British settlers of New South Wales and Australia’s first peoples • A vital text in the ongoing History Wars in Australia that on initial release reignited debate over ‘who owns the past’ • Clendinnen was a beloved teacher and scholar at La Trobe University and had a reputation as one of the world’s finest historians • Despite her scholarly credentials, Dancing with Strangers is an accessible text for a general audience • Won the Kiriyama Prize for Non-fiction (2004), the NSW Premier’s Literary Award for Non-fiction (2004), and the QLD Premier’s Literary Award for Best History Book (2004), as well as being shortlisted for both the Courier Mail and the Age’s Book of the Year Award (2004) • This Text Classics edition will be introduced by James Boyce, author of Van Diemen’s Land and 1835
In this searching and eloquent book, Inga Clendinnen explores the experience of the Holocaust from both the victims' and the perpetrators' point of view in an attempt to extract the comprehensible—the recognisably human—from the unthinkable.
The ghosts swarm like angry bees...the early wars, the Stolen Children report, the devastating health statistics, the extravagant incidence of self-destructive acts among Aboriginal adolescents...There has also been a great deal of talk about ‘guilt’ and ‘shame’, and what precise mixture of each non-Aboriginal Australia should be feeling. Inga Clendinnen believes that democratic people need true stories about their past. In this engaging essay, based on Clendinnen’s 1999 Boyer Lectures, she argues for the rejection of any single, simple account of the Australian past. The reader catches the experience of individuals through fragments—a woman being manhandled on a beach, an old man remembering the hard lessons of his boyhood in a Jesuit mission, an old woman urgently dancing the history of her country. What whites have done to indigenous Australians has been described as the ‘locked cupboard’ of Australian history. Now, ‘the cupboard is locked no more’. This frank and challenging review of race relations in Australia helps us cast off prejudice and foregone conclusions and to look with fresh eyes. It enables us to understand better how this nation came to be what it is today.
In the third Quarterly Essay for 2006, Inga Clendinnen looks past the skirmishes and pitched battles of the history wars and asks what's at stake - what kind of history do we want and need? Should our historians be producing the ''''''''objective record of achievement'''''''' that the Prime Minister has called for? For Clendinnen, historians cannot be the midwives of national identity and also be true to their profession: history cannot do the work of myth. Clendinnen illuminates the ways in which history, myth and fiction differ from one another, and why the differences are important. In discussing what good history looks like, she pays tribute to the human need for story telling but notes the distinctive critical role of the historian. She offers a spirited critique of Kate Grenville's novel The Secret River, and discusses the Stolen Generations and the role of morality in history writing. This is an eloquent and stimulating essay about a subject that has generated much heat in recent times: how we should record and regard the nation's past. ''''''''Who owns the past? In a free society, everyone. It is a magic pudding belonging to anyone who wants to cut themselves a slice, from legend manufacturers through novelists looking for ready - made plots, to interest groups out to extend their influence.'''''''' - Inga Clendinnen, The History Question.
Inga Clendinnen writes about everything from the books that terrified her as a child to what history can teach us about ourselves and our times. She recounts the experience of falling ill and the prospect of death. And she writes movingly about people who have changed her life.
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