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Presenting the one and only Mr Paul Keating – at his straight-shooting, scumbag-calling, merciless best. Paul lets rip – on John Howard: “The little desiccated coconut is under pressure and he is attacking anything he can get his hands on.” On Peter Costello: “The thing about poor old Costello is he is all tip and no iceberg.” On John Hewson: “[His performance] is like being flogged with a warm lettuce.” On Andrew Peacock: “...what we have here is an intellectual rust bucket.” On Wilson Tuckey: “...you stupid foul-mouthed grub.” On Tony Abbott: “If Tony Abbott ends up the prime minister of Australia, you’ve got to say, God help us.” And that’s just a taste.
Arguing against the critical commonplace that Evelyn Waugh’s post-war fiction represents a decline in his powers as a writer, D. Marcel DeCoste offers detailed analyses of Waugh's major works from Brideshead Revisited to Unconditional Surrender. Rather than representing an ill-advised departure from his true calling as an iconoclastic satirist, DeCoste suggests, these novels form a cohesive, artful whole precisely as they explore the extent to which the writer’s and the Catholic’s vocations can coincide. For all their generic and stylistic diversity, these novels pursue a new, sustained exploration of Waugh’s art and faith both. As DeCoste shows, Waugh offers in his later works an under-remarked meditation on the dangers of a too-avid devotion to art in the context of modern secularism, forging in the second half of his career a literary achievement that both narrates and enacts a contrary, and Catholic, literary vocation.