Monthly Archives: January 2026

‘Material World: The Six Raw Materials That Shape Modern Civilization’ by Ed Conway

2025, 443 p. plus notes

When my son said that this was his favourite book of 2025, I took notice. When I told him that I had borrowed it from the library, he hedged a bit, saying that he didn’t know if I’d like it. He’s wrong: I loved it. I could barely put it down over the three days that I read it: sand, beach and grandchildren notwithstanding.

I’m not a particularly science-y person, but this book is far more than ‘just’ science. Like a Mark Kurlansky book (think Salt, Cod etc.) it combines science, history and travel, but it also packs quite a bit of political analysis as well. I’m writing this on 5 January 2025 as the reality of Trump’s bombing of Venezuela and imposition of US oil interests is sinking in, and Conway’s comments about autarky (i.e. the policy of being self-sufficient that underlies Trump’s ‘America First’ policy) seem particular apposite right now. Ed Conway is the economics and data editor of Sky News and a columnist for The Times (London), which are right-wing connections that do not engender my trust. However these contexts are not particularly apparent in Conway’s book, except perhaps for the ultimately optimistic viewpoint with which he ends the book. Quite apart from his politics, his journalist background equips him with the eagle eye for a good anecdote and the ability to bring the narrative back onto more general-reader territory when it threatens to wade into technologically and scientific details.

In the introduction he identifies himself as a denizen of what he calls ‘the ethereal world’:

…a rather lovely place, a world of ideas. In the ethereal world we sell services and management and administration; we build apps and websites; we transfer money from one column to another; we trade mostly in thoughts and advice, in haircuts and food delivery (p.13)

He distinguishes this from ‘The Material World’, which undergirds our everyday lives by actually making things work, often through companies whose names are unknown to us, but which are more important than the brands that use their output:

…operating stuff in the Material World….you have to dig and extract stuff and turn it into physical products…a difficult, dangerous and dirty business (p.14)

He chooses six raw materials – sand, salt, iron, copper, oil and lithium- which are not only important substances in the world, but are the primary building blocks of our world and have fuelled the prosperity of empires in the past. They are the very hardest to replace. These six materials form the basis of products several steps up the chain: sand, for instance, is the basis of silica which underpins optical fibre and the concrete and cement that makes modern high-rise cities possible. In analysing these materials, he traces back their ‘discovery’ to ancient civilizations, often by accident or through observation, before being intentionally created with processes that often form the basis of present methods. Concrete, for example, was ‘discovered’ three times: there is evidence of cement use in Neolithic ruins in Turkey that date back more than 10,000 years; the Bedouins created concrete-like structures in 6500BCE, and the Roman used a form of concrete in many of their buildings before the recipe was lost for hundreds of years following the fall of the Roman Empire. The discovery of On Architecture by Roman architect Vitruvius, and its translation into French and English, triggered the 18th and 19th century quest for new concoctions to replicate or surpass the Roman recipe (p. 75). Perhaps because he is a British journalist, he highlights deposits in the British Isles rather more than we would think of today, and both German and British ingenuity are highlighted, as well as American. Thomas Edison makes several appearances, but the complete absence of any women at all highlights the male-dominated nature of science and invention.

The structure of the book has a sense of symmetry that I find appealing: six raw materials examined in six parts, each with three chapters, an introduction to the book and a conclusion. I can’t vouch for the reliability of his information, but each time I exclaimed “Hey, did you know…?” to my much more scientifically-oriented husband, he already did know and what he knew aligned with the information in the book.

Unlike many in the media companies and publications he works for, Conrad does not deny the reality of climate change and the environmental degradation that occurs as part of the mining and extraction of his six materials. However, as he points out, the production of an environmentally harmful material was often prompted by the desire to replace an earlier, even more harmful energy source which would have brought about an even more devastating environmental impact. e.g. coal replacing wood, kerosene replacing whale oil, or polyethylene replacing gutta-percha from the rapidly disappearing Malaysian guttapercha tree. It is this pattern that contributes to his optimism about our ability to mitigate climate change in the long term, if we can overcome the short-termism of the political cycle and make financial and lifestyle sacrifices for an unborn generation- actions for which there is equivocal evidence so far.

However, he is not completely Panglossian. Australia, and Rio Tinto in particular come in for trenchant criticism over the destruction of the Juukan Gorge for the extraction of iron ore. As he points out, part of the luxury of living in the ‘Ethereal World’ is that we can shunt the environmental impacts of our lifestyle into the ‘Material World’ which often happens to be a third world country. Wealthier countries, like Chile and Australia to a lesser extent are starting to question the environmental costs when the extraction occurs in their country instead of someone else’s.

Despite the shift towards autarky promoted by Trump in particular, and turbo-charged by the world’s realization of the precariousness of supply chains during COVID, the story of these six materials is also the story of globalization. Here in Australia we see the shipping out of raw materials (especially to China), but the circulation is much broader than this, with the finished product integrating multiple processing steps from right across the globe. Such processes make the world more inter-connected than America/Australia/China first politicians might desire.

The Material World is – well, material- but it has political implications. While the rest of the world panics about China’s dominance of the battery supply chain, China panics about its reliance on the rest of the world for its raw materials- hence China’s Belt and Road strategy. Particularly in relation to the production of advanced silicon chips, security is uppermost in the attempt to prevent industrial espionage and to make sure that China does not gain this ability. Ironically, China is unlikely to develop the hyper-pure silicon from which the silicon chip ‘wafers’ are made because the crucibles to melt it are available (so far) only from a single site at Spruce Pine, in North Carolina, operated by only two companies, Sibelco (Belgium) and the Quartz Corp (Norway). This raises the unsettling question of the effects of a landslide on the road that winds to Spruce Pine, or the malicious spraying of the mines with a particular chemical. But this single source is unusual: there is usually another source or another product to take the place of a threatened material. His six materials highlight the international reach of companies based in one country, and the diversification of such companies into new processes as part of the evolution of products and materials.

This evolution of products and materials lies at the heart of the optimism of the book. We have worked out how to turn complex products into commonplace and increasingly cheap items (for example solar panels and semiconductors). Although he has chosen six materials for his analysis, they are intertwined: batteries are just as reliant on copper as they are on the lithium inside them; steel inside concrete is a better building product than either alone. Even though we need to keep extracting materials to make the very ambitious transition to net zero, with solutions like hydrogen and wind turbines requiring huge amounts of energy, there is one major difference. In the past we used fossil fuels to burn, but now we are using them to build.

For years, people assumed that it would be impossible to make iron and steel at the scale we can today. Rediscovering the recipe for concrete seemed like a pipe dream. Scientists doubted that we would ever be able to tame extreme ultraviolet light, let alone use it to mass produce silicon chips. Will we look back in a decade or two and wonder why we ever fretted about producing enough hydrogen to back up the world’s energy grids, or why we struggled to generate copious power from the hot rocks deep beneath the earth?…If there is one lesson you should take from our trip through the Material World, it is that with enough time, effort and collaboration, these things usually happen….Humankind has, since its very first days, left a visible imprint on the earth. There is no point pretending otherwise. It is part of our story. It has allowed us to live longer, more comfortable lives than ever before. It has enabled us to fill the planet with more individuals than anyone could have imagines, with 8 billion brains and 8 billion sets of hopes and dreams. We are also capable of living far more sustainable, cleaner lives, diminishing our destruction and contamination and living in closer harmony with the planet. We will do so not by eschewing or dismissing the Material World, but by embracing it and understanding it. (p. 443)

I hope he’s right.

My rating: 9/10

Sourced from: Yarra Plenty Regional Library.

‘The Dust Never Settles’ by Karina Lickorish Quinn

2021, 352 p.

I don’t very often read a book just on the basis of a blurb alone, but in this case I did. Paul Lynch, the author of Prophet Song spoke highly of Quinn’s book in author interviews and his blurb describing it as ‘a mesmerising feat of imagination and a masterful debut’ graces the back cover. It’s a beautiful front cover, and the yellow butterflies evoke Gabriel Garcia Marquez, to whom this book owes quite a debt.

Anaïs Echeverría Gest has returned to her childhood home in Peru after an absence of several years in England. The family is expecting her to sign the papers authorizing the sale and inevitable demolition of her grandmother’s house, la Casa Echeverría in order to free up the inheritance. The house, which is a character in its own right, is a large yellow colonial mansion and garden overlooking the shacks and slums built by squatters on the dry plain behind the house called Los Polvos de Nadie y Nunca (the dusts of no-one and nothing) during the Agrarian Reforms of the 1960s. As soon as she steps over the threshold, she is assailed by the memories of the house- not just her life in that house, but the memories of the house itself- and the ghosts of family members and employees who had lived and worked there. Time seems to stretch and contract in the house; one minute the rooms are intact and the furniture dusted and lights illuminated, and the next minute the house is derelict and dark.

Anaïs has left her fiance Rupert Napier, a thoroughly English gentleman, in order to come home to Peru. She is curiously detached from Rupert, telling herself that she loves him but never really feeling it, and she is likewise ambivalent about her pregnancy. The future baby exists as a little pink fish in the corner of her vision, and as her pregnancy progresses the little fish changes shape until it is a huge, snapping lobster. When Rupert comes over to Peru, probably at the request of the extended family who are frustrated by Anaïs’ refusal to sign the papers, he brings with him all the Englishness of his family, an Englishness that Anaïs resented in her own English father’s refusal to acknowledge his second family in Peru, choosing instead to stay with his wife in England.

The house, built at the turn of the century, has seen multiple deaths, that are only just hinted at: a baby whose cries still echo through the house, the suicide of her Aunt Paloma and most importantly, the death of a 17 year old maid, Julia Álvarez Yupanqui who died when she fell (jumped?) from a window. As Julia falls from the window, the Earth falls away from her and is like a sheet of cloth; she sees Time “spread like an ocean, flowing this way and that, tossing up moments, driving them forwards on the crest of a wave then swallowing them again, pulling them back into the deep“. (p. 96) A disembodied presence, Julia wanders unseen through generations of the Echeverría family, right back to the Conquistadors and through centuries of dispossession, enslavement, poverty and violence. The people of Los Polvos, who saw her fall, believe that she has become a saint- and indeed, it seems that she has, as she walks unseen through history dispensing kindnesses as she passes.

It was not only the Polvorinos who saw her fall: Anaïs did too, crouched under a geranium bush. She becomes electively mute, and is seen by a succession of psychiatrists and doctors who try to make her talk. Anaïs could see the ghosts in the house and the adult Anaïs has a tenuous grasp on reality, and you are never really sure whether she is going mad.

So the story shifts back and forth between two realities: that English reality (denoted by chapters with English numerals) and the Peruvian reality in chapters with Spanish numbers. The Spanish chapters follow the disembodied Julia Álvarez Yupanqui and take us on a meandering journey through Peruvian history. There is an exhaustive list of characters in the appendix of the book, divided into the Echeverría family and a longer list of historical and imagined characters who feature in small, passing vignettes as Julia crosses the earth. These vignettes are beautifully written and draw you in just enough to feel disappointed as Julia passes by, leaving that narrative thread hanging loose. Reflecting the tragedy and complexity (and complicity) of various generations of the Echeverría family, there is a convoluted family tree that challenges the one found in One Hundred Years of Solitude with its seventeen Aureliano Buendías.

The complexity of this book is both its great strength, and its greatest weakness, particularly as the book goes on. The last quarter of the book is Julia’s journey through history, and Anaïs’ story drops away. I found myself having to consult the list of characters at the back of the book, having ‘met’ these characters earlier in the book but having forgotten them in the cavalcade of ghosts passing by. I enjoyed the frequent use of Spanish, which she paraphrases in the following sentences, but I don’t know if I would have felt that way had I not been able to read Spanish.

Because this book is just as much about time, land and colonialism as it is about individual people, it reminded me of Alexis Wright’s Carpentaria, which was similarly shape-shifting and which caused you to think “am I even understanding this?” In fact, I often said that out loud while I picked it up each night, enjoying the experience of reading it, but unable to hold it all in my head.

I like magical realism, but many people do not. This is a really ambitious, fearless book, and I suspect it is more memorable for its overall shape than for its details. It is flawed, but it’s very good.

My rating: 9/10

Read because: I loved Paul Lynch’s Prophet Song and I thought- if he loves this book, perhaps I will too. I did.