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ook that he had in him, the good-humoured but<br />

serious survey of a working life.<br />

Setting off on a journey that will take him to<br />

Liverpool and a taxi-driver for whom John Lennon<br />

may have acted as best man, to Wales for a week, to<br />

the castle where Edward II met the red-hot poker,<br />

Queenan thinks of his project as 'a cross between<br />

a valentine and a writ of execution, an affectionate<br />

jeremiad'. Confessing that 'the Brits have always<br />

puzzled me', Queenan is in good company. As<br />

Barry McKenzie put it more demotically, 'I'll never<br />

get to the bottom of the Poms.'<br />

For one thing, Britain has 'entirely too much<br />

history'- And pseudo-history: Glastonbury teems<br />

with 'hippies, warlocks, neo-Druids, and people<br />

looking for Merlin so they can buy drugs off him'.<br />

Travelling to a place of recent historical importance,<br />

the home of the Beatles, Queenan promises<br />

' No Mersey'. London is much less manageable, 'a<br />

tourist's Golgotha' (better to be spectator than participant),<br />

'intractable, insuperable, inexhaustible'.<br />

Queenan visits Madame Tussaud's, which he<br />

finds insufficiently absurd, and mentally reviews<br />

English literature. Of the modern variety he prefers<br />

books where nobody has been to Cambridge. His<br />

musical adventures range from a private performance<br />

in Oxford of Bach played on Handel's harpsichord, to<br />

an Eagles tribute band concert in Stroud. Listing ten,<br />

'make that twenty', things he hates about Britain,<br />

Queenan begins with 'the twit', not only invented,<br />

'but reluctantly beatified' in that country. He disparages<br />

the Pre-Raphaelites-'those self-absorbed poltroons<br />

had the nerve to demean the Renaissance'­<br />

along with bad hair and 'rehearsed civility'.<br />

Queenan Country is jovially enraged, delighting<br />

in being presented with so many targets for the<br />

author's ebullient scorn. The book is often very<br />

funny, but Queenan overstays his welcome. At<br />

times, too, the mask slips to reveal genuine contempt<br />

for some of what he observes. In the end,<br />

perhaps, this amusing and perceptive work is unavoidably<br />

captive to Queenan's ambivalence. •<br />

Peter Pierce is Professor of Australian literature at<br />

James Cook University, Cairns.<br />

NOVEMBER- DECEM BER 2005 EU REKA STREET 43

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