The Rise of the Meritocracy

The Rise of the Meritocracy is a book by British sociologist and politician Michael Dunlop Young which was first published in 1958.[1] It describes a dystopian society in a future United Kingdom in which intelligence and merit have become the central tenet of society, replacing previous divisions of social class and creating a society stratified between a merited power-holding elite and a disenfranchised underclass of the less merited. The essay satirised the Tripartite System of education that was being practised at the time.[2] The book was rejected by the Fabian Society and then by 11 publishers before being accepted by Thames and Hudson.[3]

Meritocracy is the political philosophy in which political influence is assigned largely according to the intellectual talent and achievement of the individual. Michael Young coined the term,[1] formed by combining the Latin root “mereō” and Ancient Greek suffix “cracy”, in his essay to describe and ridicule such a society, the selective education system that was the Tripartite System, and the philosophy in general.[2]

The word was adopted into the English language with none of the negative connotations that Young intended it to have and was embraced by supporters of the philosophy. Young expressed his disappointment in the embrace of this word and philosophy by the Labour Party under Tony Blair in The Guardian in an article in 2001, where he states:It is good sense to appoint individual people to jobs on their merit. It is the opposite when those who are judged to have merit of a particular kind harden into a new social class without room in it for others.[2]

Journalist and writer Paul Barker points out that “irony is a dangerous freight to carry” and suggests that in the 1960s and ’70s it was read “as a simple attack on the rampant meritocrats”, whereas he suggests it should be read “as sociological analysis in the form of satire”.[4]

The Statin Disaster, Important Updates regarding Coronavirus-related prevention or treatment

https://www.drbrownstein.com/the-statin-disaster-p/statindisaster.htm’

Description

“Statins are the most profitable drugs in the history of Big Pharma. Statins fail to prevent or treat heart disease for almost everyone who takes them and they are causing more harm than any other class of medications. In fact, statins are effective for approximately 1% who take them. In other words, statins fail 99% who take them.

Cholesterol is not a harmful substance. In fact, it is an essential substance that is needed by every cell in the body. We cannot live without adequate amounts of cholesterol. You will learn what steps you can take to prevent becoming a heart patient and how to holistically treat heart disease. Dr. Brownstein will show you why the cholesterol = heart disease hypothesis is a failed paradigm. . . .”

https://www.drbrownstein.com/

Important Updates

Dear CHM Patients-I want to let you know that we have been ordered by the Federal Trade Commission (FTC) to stop making any statements about our treatment protocols of Vitamins A, C and D as well as nutritional IV’s, iodine, ozone and nebulization to support the immune system with respect to Coronavirus Diseases 2019 (COVID-19).

According to this letter:

“It is unlawful under the FTC Act, 15 U.S.C Sec. 41 et seq. to advertise that a product or service can prevent, treat, or cure human disease unless you possess competent and reliable scientific evidence, including, when appropriate, well-controlled human clinical studies, substantiating that the claims are true at the time they are made. For COVID-19, no such study is currently known to exist for the products or services identified above. Thus, any Coronavirus-related prevention or treatment claims regarding such products or services are not supported by competent and reliable scientific evidence. You must immediately cease making all such claims.”

Read my blog to learn about my game plan as we take this time out to re-group. Just click on the blog link: ‘There Is Still Hope Out There and We Are Taking Time Out To Re-Group”

To All Our Health! ~DrB

The Australian book to read next: My Father’s Moon by Elizabeth Jolley

For Carrie Tiffany, reading the 1989 novel once wasn’t enough. She wanted to carry its narrator inside her as long as she could

Elizabeth Jolley.
 Elizabeth Jolley received 39 rejections in one year alone. In My Father’s Moon she created a protagonist you’ll want to keep alive forever. Photograph: Fairfax Media Archives/Fairfax Media/Getty Images

It is proof of a fine novel when its characters enter your spirit as you are reading and take up residence there. The experience is akin to falling in love. You are vividly enveloped by thoughts of another. They are alive inside you, perceiving the world with you, breath by breath. It is the most intimate of feelings. Film can’t achieve this, or theatre, or visual art; perhaps music gets closest. It’s only the novel that can show you the grain of another’s soul.

Vera Wright narrates Elizabeth Jolley’s 1989 novel My Father’s Moon.

The streets of suburban Melbourne are silent. I live alone. But here I am with the young nurse Vera in cold, mean London during the second world war, as she clanks around the wards of a training hospital with her ration jars of jam and butter hanging from her belt.

Vera cloaks me as I walk along the railway line at dusk watching the brightly lit carriages slide by on their return from the city – empty, empty, empty, empty. We stand in front of the bare supermarket shelves that have been freshly ransacked by anxious lock-downers. How insubstantial the world feels without its goods.

I read the novel quickly. As soon as I finish it, I begin again. It is told in reverse order in a series of jagged, impressionistic short stories. I think I’m trying to keep Vera alive for as long as possible, but also to enhance her narrative with this circular reading. If the dire events at the beginning of the novel (the result of all of the miss-steps and cruelties that come later) can be recast, perhaps there is a better life for Vera Wright?

I carry Vera around inside me. I want her to be free and to be loved. I want her to be sensually and sexually alive. The borders are closed but I dream of taking her to Queensland and laying her down in a warm green sea, feeding her a pineapple, showing her the whitest and purest of moons. Of course, I want these things for myself too.

The relationship between us isn’t smooth. Vera is meek, naive and loveless. She is also bitter and forlorn. She lies. She is bullied and she bullies others. Happiness must be grasped at and stolen, never shared. Vera is unable to see the world around her outside the narrow punishing hierarchies of the boarding school and the hospital. I love Vera, although at times I would gladly strangle her. She invites her entrapment not just with waywardness, but wilfully.

The young nurse Vera Wright is an aspiring writer. She is engaged in that dual impulse I know so well, to conceal and reveal. Vera’s mother tells her she is too young to be a writer, she has no experience yet. This is from the pen of Elizabeth Jolley who wrote for years without success. In one year alone Jolley received 39 rejections for her writing. She was in her fifties when her work finally found favour.

Read Elizabeth Jolley’s My Father’s Moon. You may want to go on and read the Vera Wright trilogy. You may want to go on and read and re-read Elizabeth Jolley, as I do, and as I will continue to do.

The huge Easter moon, as if within arm’s length, as if it can be reached simply by stretching out both hands to take it and hold it, is low down in the sky, serene and full, lighting the night so that it looks as if everything is snow covered, and the deep shadows lie across pale, moon-whitened lawns. This moon is the same moon that my father will have seen. He always told me when I had to leave for school, every term when I wept when I did not want to leave, he told me that if I looked at the moon, wherever I was, I was seeing the same moon that he was looking at. ‘And because of this,’ he said, ‘you must know that I am not very far away. You must never feel lonely,’ he said. He said the moon would never be extinguished. Sometimes, he said, it was not possible to see the moon, but it was always there. He said he liked to think of it as his.

– Elizabeth Jolley, My Father’s Moon, Penguin, Australia, 1989. p. 26.

Elizabeth Jolley

From Wikipedia, the free encyclopedia

Jump to navigationJump to search

Elizabeth Jolley
Elizabeth Jolley.gif

Professor Elizabeth Jolley
Born
Monica Elizabeth Knight

4 July 1923

Birmingham, England
Died 13 February 2007 (aged 83)

Occupation Novelist, professor of creative writing
Spouse(s) Leonard Jolley
Children 3

Monica Elizabeth Jolley AO (4 June 1923 – 13 February 2007) was an English-born Australian writer who settled in Western Australia in the late 1950s and forged an illustrious literary career there. She was 53 when her first book was published, and she went on to publish fifteen novels (including an autobiographical trilogy), four short story collections and three non-fiction books, publishing well into her 70s and achieving significant critical acclaim. She was also a pioneer of creative writing teaching in Australia, counting many well-known writers such as Tim Winton among her students at Curtin University.[1]

Her novels explore “alienated characters and the nature of loneliness and entrapment.”[2]

Life[edit]

Elizabeth Jolley and (younger) sister Madelaine Winifred reading, ca. 1927

Jolley was born in Birmingham, England as Monica Elizabeth Knight, to an English father and Austrian-born mother who was the daughter of a high ranking Railways official.[3] She grew up in the Black Country in the English industrial Midlands. She was educated privately until age 11, when she was sent to Sibford School, a Quaker boarding school near Banbury in Oxfordshire which she attended from 1934 to 1940.

At 17 she began training as an orthopaedic nurse in London and later in Surrey. She began an affair with one of her patients, Leonard Jolley (1914–1994), and subsequently became pregnant. Leonard Jolley was already married to Joyce Jolley, who was also pregnant. Elizabeth moved in with the Jolleys, and her daughter Sarah was born five weeks before the birth of Susan Jolley, the child of Leonard and Joyce.[4][5]

Elizabeth and Leonard subsequently emigrated to Australia in 1959 after they had married. They eventually had three children and Leonard was appointed chief librarian at the Reid Library at the University of Western Australia, a job he held from 1960–1979. Leonard told his family in England that it was Joyce and Susan with whom he had moved to Australia. For several years, Elizabeth wrote letters purportedly from Joyce and Susan to Leonard’s British relatives. Leonard eventually asked his former wife to tell their daughter Susan that he had died.[4]

Elizabeth and Leonard lived in the riverside Perth suburb of Claremont. In 1970 they also bought a small orchard in Wooroloo, a town in the Darling Ranges approximately 60 kilometres inland from Perth.[6]

Elizabeth Jolley worked at a variety of jobs including nursing, cleaning, door-to-door sales and running a small poultry farm, and throughout this time she also wrote works of fiction including short stories, plays and novels. Her first book was published in 1976, when she was 53.

From the late 1970s, she taught writing at the Western Australian Institute of Technology, later Curtin University, and one of her students was another Australian novelist, Tim Winton.[7] Her students have won many prizes including “several Australian/Vogel Awards (for a first novel), several different Premier’s Awards, the Commonwealth Poetry Prize and the Miles Franklin Award”.[1]

She developed dementia in 2000, and died in a nursing home in Perth in 2007. Her death prompted many tributes in newspapers across Australia, and in The Guardian in the United Kingdom. Her diaries, stored at the Mitchell Library in Sydney, will be closed until after the deaths of her children or 25 years after her death.[8]

Andrew Riemer, the Sydney Morning Herald’s chief book reviewer, wrote in his obituary for her, “Jolley could assume any one of several personas – the little old lady, the Central European intellectual, the nurse, the orchardist, the humble wife, the university teacher, the door-to-door salesperson – at the drop of a hat, usually choosing one that would disconcert her listeners, but hold them in fascination as well”.[9]

On 16 November 2007, the performance of Johannes Brahms‘s A German Requiem by the West Australian Symphony Orchestra, chorus and soloists, under conductor Lothar Zagrosek, was dedicated to Jolley, for whom the Requiem had been a great source of joy and inspiration.[10]

Literary career[edit]

Jolley began writing early in her twenties, but was not recognised until much later. She had many rejections by publishers, 39 in one year alone. Delys Bird suggests that it was the post-modern features of her writing – “motifs repeated within and between novels and short stories, self-reflexivity and open-endedness”[11] – that made it hard for them to be published at that time. She suggests that her eventual success owes a little to “the 1980s awareness of ‘women’s writing'”, which had been catapulted to the mainstream after the success of other Australian female writers such as Helen Garner and Germaine Greer.[11]

In the 1960s some of her stories were accepted by the BBC World Service and Australian journals, but her first book Five Acre Virgin was not published until 1976. Soon following were Woman in a Lampshade and Palomino, but it would not be until much later that these books would receive either positive reviews or high circulation.

She lapsed in her writing, discouraged by earlier failures, and was only to be published again in 1983 with Miss Peabody’s Inheritance and Mr Scobie’s Riddle. The latter won The Age Book of the Year and high acclaim, especially in Australia and the United States. A year later, Milk and Honey was awarded Christina Stead Prize for fiction in the New South Wales Premier’s Literary Awards. In 1986, The Well won the top Australian literary prize – the Miles Franklin AwardThe Sugar Mother was, as Riemer writes, “her characteristically idiosyncratic way of fulfilling a commission to write a novel commemorating the bicentenary of 1988”.[12]

Later in her career she wrote an autobiographical fiction trilogy, “My Father’s Moon” (1989), “Cabin Fever” (1990) and ‘The George’s Wife” (1993). In an article in The Age newspaper, 20 February 2007, written after her death, literary critic Peter Craven, was reported as saying, “She was a master of black comedy and she went on to write a wholly different form of autobiographical fiction that was lucid, luminous and calm”.[13]

Lovesong, her third last novel, is, Riemer suggests, “the riskiest book she wrote”.[12] It deals with the subject of paedophilia and demonstrates “an admirable refusal to be deflected from what she must have seen as the demands of her art and vocation”.[12]

In 1993, a diary she kept before her novels were published which recorded the experience of buying a hobby farm was published as Diary of a Weekend Farmer. A partly autobiographical collection of pieces, Central Mischief, appeared in 1992. She also wrote numerous radio plays broadcast by the Australian Broadcasting Corporation, and several of her poetic works were published in journals and anthologies during the 1980s and 1990s.

Jolley was made a Professor of Creative Writing at Curtin University in 1998.

On 8 February 2008, Curtin University Library launched the online Elizabeth Jolley Research Collection, a virtual research centre for scholars interested in studying her and her work.

Awards and nominations[edit]

Literary works[edit]

Novels[edit]

Short stories and plays[edit]

Non-fiction[edit]

Game Theory, the Internet of Things and 5G Networks: … books.google.com.au › books

https://books.google.com.au/books?id=AruXDwAAQBAJ&pg=PA80&lpg=PA80&dq=TIT+The+Internet+of+Things&source=bl&ots=RlgbU-v-ru&sig=ACfU3U3jqD6Aum7SMgqk4tGyz1apykN7rQ&hl=en&sa=X&ved=2ahUKEwiCurP9v5jpAhWkxTgGHcxOCLUQ6AEwEHoECAoQAQ#v=onepage&q=TIT%20The%20Internet%20of%20Things&f=false

Game Theory, the Internet of Things and 5G Networks: …

books.google.com.au › books
Josephina Antoniou – 2019 – ‎Technology & Engineering

… combinations (1st simulation Rec. node payoffs Sending node strategies set) Rec. node strategies Tit-for-tat Cheat&return Grim 793.14 4.42 Cheat&leave 6.62 …

Thinking Errors and the Coronavirus

Martin Cohen (Twitter @docmartincohen) is a writer, lecturer and researcher who specialises in social science whose books have been translated into twenty different languages. His doctoral research involved looking at social and psychological myths constructed around the power of computers and his books, including, Paradigm Shift: How Expert Opinions Keep Changing on Life, the Universe, and Everything (2015) have explored key issues in philosophy of science including food myths and previous pandemic scares as well as the groupthink that enabled them.

“The end of everything we call life is at hand and cannot be evaded”
H. G. Wells (1946)

Thinking Errors and the Coronavirus

“The coronavirus doesn’t just make individual people ill – it threatens the whole of society too. Measures used to control the virus destroy people’s livelihoods, trample basic freedoms and, if prolonged, could eventually bring about wholesale societal collapse. . . .”

Big Farms Make Big Flu

Book Details

Dispatches on Influenza, Agribusiness, and the Nature of Science

by Rob Wallace

Published by: Monthly Review Press

400 pages, 6.00 x 9.00 in

  • PAPERBACK
  • ISBN: 9781583675892
  • PUBLISHED: JUNE 2016

$24.00

BUY

  • HARDCOVER
  • ISBN: 9781583675908
  • PUBLISHED: JUNE 2016

$89.00

BUY

Thanks to breakthroughs in production and food science, agribusiness has been able to devise new ways to grow more food and get it more places more quickly. There is no shortage of news items on hundreds of thousands of hybrid poultry – each animal genetically identical to the next – packed together in megabarns, grown out in a matter of months, then slaughtered, processed and shipped to the other side of the globe. Less well known are the deadly pathogens mutating in, and emerging out of, these specialized agro-environments. In fact, many of the most dangerous new diseases in humans can be traced back to such food systems, among them Campylobacter, Nipah virus, Q fever, hepatitis E, and a variety of novel influenza variants.

Agribusiness has known for decades that packing thousands of birds or livestock together results in a monoculture that selects for such disease. But market economics doesn’t punish the companies for growing Big Flu – it punishes animals, the environment, consumers, and contract farmers. Alongside growing profits, diseases are permitted to emerge, evolve, and spread with little check. “That is,” writes evolutionary biologist Rob Wallace, “it pays to produce a pathogen that could kill a billion people.”

In Big Farms Make Big Flu, a collection of dispatches by turns harrowing and thought-provoking, Wallace tracks the ways influenza and other pathogens emerge from an agriculture controlled by multinational corporations. Wallace details, with a precise and radical wit, the latest in the science of agricultural epidemiology, while at the same time juxtaposing ghastly phenomena such as attempts at producing featherless chickens, microbial time travel, and neoliberal Ebola. Wallace also offers sensible alternatives to lethal agribusiness. Some, such as farming cooperatives, integrated pathogen management, and mixed crop-livestock systems, are already in practice off the agribusiness grid.

While many books cover facets of food or outbreaks, Wallace’s collection appears the first to explore infectious disease, agriculture, economics and the nature of science together. Big Farms Make Big Flu integrates the political economies of disease and science to derive a new understanding of the evolution of infections. Highly capitalized agriculture may be farming pathogens as much as chickens or corn.

Strange New World

Strange New World

By 

Fatefulness about the survival of the species is not new. Religious thinking has end-time built in, and for most of our sentient life on the planet human­kind has been predominantly religious. That has changed in Westernized countries, but only relatively recently, and alongside advances in scientific knowledge. Our new pessimism no longer depends on a deity to wipe out this wicked world. Since the Manhattan Project, we have learned how to do it ourselves.

Nuclear, ecological, chemical, economic — our arsenal of Death by Stupidity is impressive for a species as smart as Homo sapiens. Yet fire or flood may belong to an Armageddon whose awful grandeur may not be our fate. Plague — unlovely, heroic, unstoppable, might well get us first. That’s what happens in Margaret Atwood’s new novel, “The Year of the Flood,” her latest excursion into what’s sometimes called her “science fiction,” though she prefers “speculative fiction.” If we have to have a label, that’s a better one, since part of Atwood’s mastery as a writer is to use herself as a creative computer, modeling possible futures projected from the available data — in human terms, where we are now.

Her 1985 novel “The Handmaid’s Tale” imagines a United States taken over by God-fearing fundamentalists sick of democracy and civil rights, especially women’s rights. Atwood is chillingly brilliant in depicting the slick twists a technology of freedom can take, shifting ease of access — in this case to financial records and personal information — into theft and surveillance. Overnight, the bank accounts of every woman are transferred to her nearest male relative.

Image
Credit…Illustration by Sam Weber

In “Oryx and Crake,” published in 2003, Atwood leads us through a bioengineered world where a new species, the Crakers, has been invented by a Dr. Frankenstein figure — Crake — and given a chance at remaking the world, thanks to a near decimation of the human race, also masterminded by Crake. At the end of that novel, we are left in a clearing in the woods with a tribe of bewildered Crakers, a few old-­fashioned human beings and Jimmy the Snowman, who’s wondering whether he should finish off the last of his own kind and leave the whole rotten and rotting show to the nonviolent, unclothed human herbivores cell-created by his best friend, Crake.

That end is also the end of “The Year of the Flood.” Here Atwood has brilliantly re-told her own tale, through other mouths and focusing on different details, showing us how the kids Jimmy and Glenn become the Snowman and Crake, and how an end — or the End — can happen in the name of a new beginning.

  • Unlock more free articles.

Create an account or log in

The Waterless Flood has long been predicted by God’s Gardeners, a back-to-nature cult founded by Adam One. Its members live simply and organically, sing terrible hymns, have no dress sense and peddle a bolted-together theology, difficult to think about if you think at all. With values diametrically opposed to those of the ruling CorpSEcorps, the Gardeners aren’t “the answer,” but at least they’ve asked enough questions to avoid a life of endless shopping and face-lifts.

The Gardeners sometimes do evangelical work in the mean streets, known as the pleeblands, or picket a fast-food joint like SecretBurgers because it’s wrong to eat anything with a face. At Secret­Burgers they rescue a young woman named Toby from the murderous clutches of her sex-crazed boss, Blanco the Bloat, and it’s Toby who is one of the central characters in the post-plague part of the story. As a Gardener, Toby rises to the position of Eve Six, in charge of bees, herbs and potions, but Blanco never stops pursuing her, and to save herself, and the group, she receives a new identity in the health spa AnooYoo. Recovering from plastic surgery, she avoids the deadly wipeout germ of the plague.

Image
Credit…George Whiteside

Less cosmetically, but just as effectively, Ren, a pole dancer at a local sex joint called Scales and Tails, is in an isolation room after a bloody attack by a punter, so she too misses the bio-bug. The women’s past and present stories alternate and inter­twine, bringing to life the world they must survive in — a world where pigs have human brain tissue and sheep are bred with human hair in different colors, silver and purple being hot hits for whole-head implants, providing you don’t mind smelling of lamb chops when it rains.

My favorite Atwood genetic invention is the liobam — a cross between a lion and a lamb, engineered by a lunatic fringe religious group that’s tired of waiting for the prophecy of the lion lying down with the lamb to come true. Their own breed has curly golden hair and long, sharp canines, and will look at you very gently while it rips your throat out — which is pretty much the metaphor for the world of lethal paternalism created by CorpSEcorps.

The sensitive CorpSEcorps elite boy Glenn, who becomes Crake, starts out as a teenage sympathizer for the Gardeners but is too seduced by his own brainpower to trust nature. Like his friend Jimmy, Glenn doesn’t know how to love, and the awkward devotion he feels for the girl he calls Oryx is not returned. Atwood is very good at showing, without judging, what happens when human beings (usually men) cannot love. In the worst of them, like Blanco the Bloat, brutality and sadism take over. In the better of them, like Crake, a utopian desire for perfectability re­places the lost and lonely self. Crake designs out love and romance because he wants to design out the pain and confusion of emotion.

In this strangely lonely book, where neither love nor romance changes the narrative, friendship of a real and lasting and risk-taking kind stands against the emotional emptiness of the money/sex/power/consumer world of CorpSEcorps, and as the proper antidote to the plague-­mongering of Crake and Jimmy, for whom humankind holds so little promise. As ever with Atwood, it is friendship between women that is noted and celebrated — friendship not without its jealousies but friendship that survives rivalry and disappointment, and has a generosity that at the end of the novel allows for hope. Atwood believes in human beings, and she likes women. It is Toby and Ren who take the novel forward from the last page, not the genetically engineered new humans.

Atwood is funny and clever, such a good writer and real thinker that there’s hardly any point saying that not everything in the novel works. Why should it? A high level of creativity has to let in some chaos; just as nobody would want the world as engineered by Crake, nobody needs a factory-finished novel. The flaws in “The Year of the Flood” are part of the pleasure, as they are with human beings, that species so threatened by its own impending suicide and held up here for us to look at, mourn over, laugh at and hope for. Atwood knows how to show us ourselves, but the mirror she holds up to life does more than reflect — it’s like one of those mirrors made with mercury that gives us both a deepening and a distorting effect, allowing both the depths of human nature and its potential mutations. We don’t know how we will evolve, or if we will evolve at all. “The Year of the Flood” isn’t prophecy, but it is eerily ­possible.

THE YEAR OF THE FLOOD

By Margaret Atwood

434 pp. Nan A. Talese / Doubleday. $26.95

Jeanette Winterson’s latest novel is “The Stone Gods.”

THE LUCK OF POLITICS: TRUE TALES OF DISASTER AND OUTRAGEOUS FORTUNE Andrew Leigh

THE LUCK OF POLITICS: TRUE TALES OF DISASTER AND OUTRAGEOUS FORTUNE

https://www.dymocks.com.au/book/the-luck-of-politics-true-tales-of-disaster-and-outrageous-fortune-by-andrew-leigh-9781863957557

“A delightful look at chance and outrageous fortune. In 1968, John Howard missed out on winning the state seat of Drummoyne by just 420 votes. Howard reflects- ‘I think back how fortunate I was to have lost.’ It left him free to stand for a safe federal seat in 1974 and become one of Australia’s longest-serving prime ministers. In The Luck of Politics, Andrew Leigh weaves together numbers and stories to show the many ways luck can change the course of political events. This is a book full of fascinating facts and intriguing findings. Why is politics more like poker than chess? Does the length of your surname affect your political prospects? What about your gender? From Winston Churchill to George Bush, Margaret Thatcher to Paul Keating, this book will persuade you that luck shapes politics – and that maybe, just maybe, we should avoid the temptation to revere the winners and revile the losers. ‘Andrew Leigh takes the simplest idea there is – luck – and threatens to remake your basic understanding of politics with it. Then he succeeds. Lucky for us.’ Waleed Aly ‘It’s rare to find a politician prepared to acknowledge the role of luck – sheer chance – in political success and failure. Andrew Leigh doesn’t just acknowledge it, he interrogates it, using fascinating historical anecdotes to illustrate his tale.’ Lenore Taylor”

Andrew Leigh

From Wikipedia, the free encyclopedia

Jump to navigationJump to search

Dr Andrew Leigh
Andrew Leigh 2017.jpg

Leigh in 2017
Member of the Australian Parliament
for Fenner
Assumed office
2 July 2016
Preceded by New seat
Member of the Australian Parliament
for Fraser
In office
21 August 2010 – 2 July 2016
Preceded by Bob McMullan
Succeeded by Division abolished
Personal details
Born
Andrew Keith Leigh

3 August 1972 (age 47)
Sydney, Australia

Nationality Australian
Political party Australian Labor Party
Spouse(s) Gweneth
Children 3 sons
Residence Canberra, Australia
Alma mater University of Sydney
Harvard Kennedy School
Occupation Politician
Profession Lawyer, academic, political adviser
Website andrewleigh.com

Andrew Keith Leigh (born 3 August 1972) is an Australian politician, author, and former professor of economics at the Australian National University. He has been a Labor member of the Australian House of Representatives since 2010 representing the seat of Fraser until 2016 and Fenner thereafter. He briefly served as the Parliamentary Secretary to Prime Minister Julia Gillard in 2013 and then served as Shadow Assistant Treasurer and Shadow Minister for Competition from 2013 to 2019. Leigh is not a member of any factions of the Labor Party.