- Current Books
- The Blaze of Obscurity
- North Face of Soho
- The Revolt of the Pendulum
- Reviews
- Extracts
- Bea Miles, Vagrant
- Crime Movie Music
- On Modern Australian Painting
- On American Movie Critics
- On A.D. Hope
- Perfectly Bad Sentence
- Insult to the Language
- On Camille Paglia
- On John Bayley
- On John Anderson
- On Elias Canetti
- Starting with Sludge
- On Jonathan James-Moore
- On Ian Adam
- On Diamond Jim McClelland
- On Nicole Kidman
- Show Me the Horror
- On Niki Lauda
- On Damon Hill
- On Pat Kavanagh
- Artists in Exile
- On Leni Riefenstahl
- On British Films
- The Writer's Revenge
- Exit Roth's Ghost
- On Crime Fiction
- Saying Famous Things
- The Question of Karl Kraus
- Kingsley Amis Biography
- The Robert Hughes Memoirs
- Happiness Writes White
- The Meaning of Recognition
- As Of This Writing
- Cultural Amnesia
- Books Out of Print




There is a tone of voice that you can hear in the way a sentence is balanced, even if you are not equipped to understand its content. “What the idealist has, in fact, to show is that there is no real distinction, and the answer is that in that case there can be no real relation.” Thus wrote John Anderson, in Studies in Empirical Philosophy, and as soon as I read that sentence I was home. Actually I was leaving home. I read it on the ship to England. At Sydney University I had managed to avoid his lectures, as I had avoided the lectures of everyone else, but his spirit was all around the place. Everyone you met was either an Andersonian or a non-Andersonian. Now, as the Indian ocean ran slowly past, I was an Andersonian too. Or perhaps a non-Andersonian. Either way, his name was in there somewhere. His name was all over Australia 's intellectual world. For good or ill, he was the national philosopher.