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Dictionary of World Biography Ninth edition Dictionary of World Biography Barry Jones Ninth edition Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760465513 ISBN (online): 9781760465520 WorldCat (print): 1348968166 WorldCat (online): 1348968054 DOI: 10.22459/DWB.2022 This title is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) licence. The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Printed by Lightning Source ingramcontent.com/publishers-page/environmental-responsibility The ANU.Lives Series in Biography is an initiative of the National Centre of Biography at The Australian National University, ncb.anu.edu.au. Cover design and layout by ANU Press This book is published under the aegis of the ANU.Lives Editorial Board of ANU Press. First edition © 2014 ANU Press Second edition © 2015 ANU Press Third edition © 2016 ANU Press Fourth edition © 2017 ANU Press Fifth edition © 2018 ANU Press Sixth edition © 2019 ANU Press Seventh edition © 2020 ANU Press Eighth edition © 2021 ANU Press Ninth edition © 2022 ANU Press About the Author Jones, Barry Owen (1932– ). Australian politician, writer and lawyer, born in Geelong. Educated at Melbourne High School and Melbourne University, he was a public servant, high school teacher, television and radio performer, university lecturer and lawyer before serving as a Labor MP in the Victorian Parliament 1972–77 and the Australian House of Representatives 1977–98. He took a leading role in reviving the Australian film industry and abolishing the death penalty in Australia, and was the first politician to raise public awareness of global warming, the ‘post-industrial’ society, the IT revolution, biotechnology, the rise of ‘the Third Age’ and the need to preserve Antarctica as a wilderness. In the *Hawke Government, he was Minister for Science 1983–90, Prices and Consumer Affairs 1987, Small Business 1987–90 and Customs 1988–90. He became a member of the Executive Board of UNESCO, Paris 1991–95 and National President of the Australian Labor Party 1992–2000, 2005–06. He was Deputy Chairman of the Constitutional Convention 1998. His books include Decades of Decision 1860– (1965), Joseph II (1968) and Age of Apocalypse (1975), and he edited The Penalty Is Death (1968, revised and expanded 2022). Sleepers, Wake! Technology and the Future of Work was published by Oxford University Press in 1982, became a bestseller and has been translated into Chinese, Japanese, Korean, Swedish and braille. The fourth edition was published in 1995. Knowledge Courage Leadership: Insights & Reflections, a collection of speeches and essays, appeared in 2016. He received a DSc in 1988 for his services to science and a DLitt in 1993 for his work on information theory. Elected FTSE (1992), FAHA (1993), FAA (1996) and FASSA (2003), he is the only person to have become a Fellow of four of Australia’s five learned Academies. Awarded an AO in 1993, named as one of Australia’s 100 ‘living national treasures’ in 1997, he was elected a Visiting Fellow Commoner of Trinity College, Cambridge in 1999. His autobiography, A Thinking Reed, was published in 2006 and The Shock of Recognition, about music and literature, in 2016. In 2014 he received an AC for services ‘as a leading intellectual in Australian public life’. What Is to Be Done was published by Scribe in 2020. v Abbreviations AC/AO Companion/Officer of the Order GCMG/ Grand Cross/Knight Commander/ of Australia KCMG/ Dame Commander/Companion of the DCMG/ Order of St Michael and St George ADC Aide de camp CMG AIDS Acquired Immune Deficiency Syndrome GCSI/ Grand Cross/Knight Commander/ a.k.a. also known as KCSI/ Dame Commander/Companion of the CSI Order of the Star of India ALP Australian Labor Party GCVO/ Grand Cross/Knight Commander/ BAFTA British Academy of Film KCVO/ Dame Commander/Companion of the and Television Arts DCVO/ Royal Victorian Order BBC British Broadcasting Corporation CVO BEF British Expeditionary Force GOC General Officer Commanding CC/OC Companion/Officer of the Order ILO International Labour Organization of Canada KC/QC King’s/Queen’s Counsel CCP Chinese Communist Party KG/LG Knight/Lady of the Order of the Garter CERN Conseil Européen pour la Recherche KGB Committee of State Security Nucléaire (former USSR) CH Companion of Honour KP Knight of St Patrick CIA Central Intelligence Agency KT Knight of the Thistle C-in-C Commander-in-Chief MEP Member of the European Parliament CNRS Centre National de la Recherche MIT Massachusetts Institute of Technology Scientifique MP Member of Parliament CPSU Communist Party of the Soviet Union NASA National Aeronautics and Space DFC Distinguished Flying Cross Administration DSO Distinguished Service Order NATO North Atlantic Treaty Organization EC European Community OM Order of Merit EIC East India Company PC Privy Counsellor EU European Union RA Royal Academician, London FAA Fellow of the Australian Academy RAF Royal Air Force of Science SDP Social Democratic Party FBA Fellow of the British Academy SI International System of Units (Système FBI Federal Bureau of Investigation international d’unités) FRCP Fellow of the Royal College SPD Sozialdemokratische Partei Deutschlands of Physicians UK United Kingdom FRS Fellow of the Royal Society UN United Nations FRSA Fellow of the Royal Society of Arts UNESCO United Nations Educational, GBE/ Grand Cross/Knight Commander/ Scientific and Cultural Organization KBE/ Dame Commander/Companion of the DBE/ Order of the British Empire US(A) United States (of America) CBE USSR Union of Soviet Socialist Republics GCB/ Grand Cross/Knight Commander/ VC Victoria Cross KCB/CB Companion of the Order of the Bath WHO World Health Organization vii Introduction ‘I want to be there when everyone suddenly understands what it has all been for.’ — Fyodor Dostoevsky, The Brothers Karamazov (1881), Part II, Book 5, Chapter 4: words spoken by Ivan Karamazov. This is the ninth annual edition of my Dictionary of World Biography (DWB) to be published by ANU Press, and possibly the last: after all, I will turn 90 before the end of 2022 and ANU Press may have different priorities in 2023. The complicated story of the DWB’s evolution, and its frustrating publishing history, has been exhaustively treated in earlier editions and can be easily retrieved. This edition is appropriate for some reflective, even elegiac, observations. Inevitably, the DWB, my magnum opus, is highly personal and opinionated, even semi- autobiographical. In The Republic, Plato describes a darkened cave, with a long entrance leading to daylight and the natural world. The cave’s inhabitants are there for life, kept in by bars, but also conditioned through habit. Shadow plays seen on the walls constitute reality to them and they are unable to explore the world outside. The cave metaphor seemed eerily prophetic in the era, first, of film, then television, then computing, computer games, smartphones and social media. Getting people out of Plato’s cave involves encouraging them to confront ‘the shock of recognition’ in unfamiliar, challenging phenomena, grasping the range of human diversity, trying to reconcile depth of understanding and breadth of experience, distinguishing between the macro and the micro. ‘The shock of recognition’, which I used as a book title (2016), examines the impact of self-discovery after exposure to, or immersion in, the uncanny, the challenging, the transcendental, relating the specific to the universal, the immediate to the timeless, the individual to all humanity. I tried to pursue the concept of ‘the abundant life’, rattling the bars of the cave, escaping from a conceptual shoe box, by investing time and concentration, connecting with transcendental creativity, pursuing intellectual and aesthetic engagement—aiming to experience excitement, satisfaction, happiness, and often a sense of awe or the edge of danger. This involves taking risks. High culture, with all its complexity, can take us to places where we do not expect to go and has some aura of danger. Tackling complexity is not just a matter of taste but an essential evolutionary developmental mechanism, which strengthens brain plasticity and capacity, wards off loss of cognition and the onset of dementia more effectively than computer games, Sudoku, crossword puzzles or jigsaws. ix Dictionary of World Biography This suggests an analogy with cathedrals, and their two axes, vertical and horizontal. The vertical pulls our gaze upward, looking through the vault towards the stars, reaching out for the transcendental and numinous, rapture and the unattainable—for some, Heaven. Pursuing the vertical is difficult, complex, dangerous, involving travelling alone, coming to terms with the mysterious, the aspirational, the abstract, the unique. The horizontal is comfortable, familiar, reassuring, earthbound, physical, less challenging and safer, with no fear of falling. In a secular, technological, materialist and self-absorbed society, there may be risk in even mentioning the cathedral analogy, since so many have been deeply alienated, even traumatised, by childhood experience of religion. When I become preoccupied with a subject, the urge to share experience becomes irresistible, even if my audience shows palpable reluctance. I am hidden within the pages of the DWB. I often feel like Odysseus on a long voyage of discovery, making a connection between me– here–now and everyone–everywhere–all time, balancing the sublime with the quotidian, recognising the tension between the unique and the universal. It helps me make sense of my own experience and reinforces a sense of connectedness (‘we are not alone’) with the unfamiliar and remote. I could be accused, as an aged white male, of being unduly Europhile in my tastes. Proffering long, complex entries for Mozart, Beethoven, Wagner and Mahler and virtually ignoring practitioners of folk music or country and western may be seen, in a deconstructionist age, as condescending, hierarchical—even patriarchal. I concede, at once, being far more familiar with the culture of Europe (including North America and Australia) than of other continents—but I have travelled extensively, and eagerly seek out the work of Asian, African and South American artists looking for achievement comparable, say, to that of Bach, Michelangelo or Shakespeare, just as I seek their equivalents in recent centuries, anywhere. It was painful to observe that so many had no access to the unfamiliar and transcendental. If they knew nothing of Homer, Mozart, Darwin and Einstein they were missing something potentially life-changing. If the names of Lenin, Hitler, Stalin and Mao drew a blank, then fellow humans, especially the young, would fail to grasp the context in which their world evolved. And the DWB gave opportunities for reappraisal of women, so often grossly under- represented in reference works: Hatshepsut, Hildegard of Bingen, Emily Dickinson, Florence Nightingale, Marie Curie, Louise Bourgeois, Simone Weil, Margaret Thatcher, Julia Gillard. Always a very rapid and—more important—efficient reader, over many decades I devoured thousands of books, including novels, biographies, plays and poetry, as well as being an assiduous visitor to archaeological sites and ruins, art galleries and museums, a modest collector of artworks and artefacts, and a concert hall habitué. Travel was also a very important x