|''I’m honestly not sure what my questions last week and the answers we got reveals about the degree to which Australians welcome or resist the boldest forms of cultural expression, which was one of the questions I raised last week. This seems to be something that Australians themselves, separate from me, continue to debate. ''|
|''On Twitter in particular, there was some resistance to the idea that there might be Australian constrictions on creativity, the idea that some element of “tall poppy syndrome” might undermine the expression and celebration of bold creativity that breaks with convention. But in our inbox, we also found several emails from creators of all kinds who said they either left Australia because of this issue, or had been forced to confront it in their own lives here. ''|
|''This NYT newsletter is not the forum to continue that ''discussion'' (though we will keep discussing it in our subscriber Facebook group) which is a closed FB group only for paid subscribers to the NYTimes, in order to keep out outliers and rabblerousers. ''|
Cave, who is now the editor of the New York Times in Australia bureau, a new posting for him, wondered why ''some'' established-genre cult-genre literary critics, tend to be publicly negative towards new literary and cinema genres in such publications as the SMH and the the Sydney Review of Books. Cave noted in a Times newseletter for readers of the Oz edition and his take is headlined''The Fall and Rise of Australian Culture ''
and he wrote among other things: ''Sebastian Smee, a wonderful Asutralian art critic who returned to Sydney this year after winning a Pulitzer with the Boston Globe, wrote for us about the Art Gallery of New South Wales and its struggle to obtain the financing it needed to expand its exhibition and event space.''
''Later in the week, Besha Rodell, another Australian who has become a standout in the United States — in her case, Los Angeles — explored the battle over how to modernize Melbourne’s beloved Queen Victoria Market. ''
''Both pieces ***mined the tension*** in Australia that ***often seems to come with proposals for the new, the bold, the different.*** This is something Ben Shewry, the world-renowned Attica chef who Sam Sifton profiled this week as part of a special series of features on Australian food and drink, talked about when we hosted an event with him in Melbourne last month: ***the degree to which Australia tends to criticize new ideas and new literary genres, the nails that stick out, [just like Japanese culture].
Damien added: ''So is Australia becoming more open to bold creative expression or is this country ***just as eager [as always] to cut down the tall poppies who stick their heads up and stand out? "***
****Write to us at email@example.com, *** and tell us what you think.'What we're trying to explore here is how Australians experience culture high, low or in-between and what that might reveal about the country's attitude toward insurgent creativity. ''
Several Australians already chimed in about narrow minded Australian ''literary critics'' who hunt in packs and so-called ''public intellectuals''
saying that they are part of the problem and not part of the solution.