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ETER­NAL grat­i­tude to Lyn­den Bar­ber for de­scrib­ing the nau­se­at­ing ef­fects for some film­go­ers of poorly ex­e­cuted hand-held cam­era (‘‘Shaken, not stirred’’, Oc­to­ber 2021), and for em­pha­sis­ing that it’s not just oldies who suf­fer. Thanks also to David Strat­ton for warn­ing when a film fea­tures ‘‘queasy cam’’. It’s hor­ri­ble, like be­ing ex­tremely sea­sick. I’ve had to walk out of many films, most re­cently Beasts of the South­ern Wild. Gillian Ap­ple­ton Bondi, NSW

AU­TOPHAGY is a med­i­cal term mean­ing ‘‘self-eat­ing’’, and seems to be the most apt word for what to­day’s arts and hu­man­i­ties aca­demics have done to their ar­eas of what we used call schol­ar­ship. Their fad­dish po-mo id­io­cies have re­duced our her­itage and lit­er­a­ture to PC hunts for al­leged fas­cists, ho­mo­phobes, racists, sex­ists and clas­sists (‘‘Mu­seum men­tal­ity’’, Oc­to­ber 20-21). What value is there in get­ting a BA that com­prises Gotcha! mo­ments ‘‘prov­ing’’ Mil­ton was a misog­y­nist, Act IV, Scene II, line 69 of one of the Bard’s lesser tragi­come­dies is Ur­fas­cist, or Dick­ens or Monash or Hib­berd used the odd ho­mo­pho­bic ex­pres­sion? Leonard Colquhoun In­ver­may, Tas­ma­nia

I HAVE al­ways en­joyed and val­ued Evan Wil­liams’s film re­views. So I was dis­mayed by his as­ser­tion in his re­view of Woody Allen’s To

Rome with Love (‘‘Rome, with re­grets’’, Oc­to­ber 20-21) that Allen has never won the Os­car for best pic­ture. In fact, the di­rec­tor won the best pic­ture Os­car for An­nie Hall. He fa­mously did not ac­cept the award in per­son, due to his pref­er­ence to re­main in New York hon­our­ing his reg­u­lar clar­inet-play­ing com­mit­ment, as well as his gen­eral dis­taste and con­fu­sion at awards cer­e­monies. Michael Toon South Bris­bane

CAMILLE Paglia’s ar­ti­cle on the state of visual art (‘‘How cap­i­tal­ism can save art’’, Oc­to­ber 20-21) seems to take the bull by the tail, rather than by the horns. A far more ap­pro­pri­ate ques­tion is how late cap­i­tal­ism is cor­rupt­ing art. Paglia’s ar­ti­cle is per­cep­tive on de­tails, un­til she gets to larger ques­tions of logic, where her in­ter­pre­ta­tion be­comes con­ser­va­tive, es­pe­cially in the re­la­tion­ship of in­tended ide­ol­ogy and ac­tual aes­thet­ics. Much visual art to­day is rad­i­cal ide­o­log­i­cally, but con­ser­va­tive in its aes­thet­ics and this re­sults in art move­ments of ut­ter con­fu­sion, or mere jour­nal­is­tic im­posed com­men­tary. Richard Cor­nish Lower Mitcham, South Aus­tralia

IN John Tran­ter’s re­view of Les Mur­ray (ed.) The Quad­rant Book of

Po­etry (Oc­to­ber 13-14), he ‘‘praises’’ my con­tri­bu­tions and those of too few oth­ers with much sneer. He then ar­gues his pref­er­ence for po­etry of ex­per­i­men­tal­ism and ob­scu­rity. Strange to say, he has pub­lished a poem of mine in each of two an­tholo­gies, The Best Aus­tralian Po­ems of 2011 and 2012, that he se­lected and edited. Nei­ther of my po­ems has a trace of ob­scu­rity or ex­per­i­men­tal­ism. Suzanne Edgar Gar­ran, ACT

To be con­sid­ered for pub­li­ca­tion, let­ters must con­tain an ad­dress and tele­phone num­ber for ver­i­fi­ca­tion. Let­ters may be edited for length and clar­ity.

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