Boris Johnson is of course one of the most distinctive political leaders of recent times. With his mop of unruly blond hair, plummy Etonian tones, and carefully confected air of bumbling amiability, he seems to have been on the British political scene for decades. In fact, his political career has been relatively short by comparison with many of his peers. This in turn helps explain the timing of Unleashed. As becomes clear, Johnson is in no mood for idle reminiscence or nostalgia for the top table.

In his brief Foreword to H.D.’s posthumous collection, Hermetic Definition (1974), Yale Professor Norman Holmes Pearson (1909-75) provides an authoritatively crystalline summary of the poet’s life’s work. Asserting the primacy of her later poetry, the ‘war trilogy’ (1942-44) and Helen in Egypt (1961), Pearson recovers H.D. from her accepted but ‘inadequate’ typecasting as an Imagist, identifying her deployment of Freud as ‘a great mythologist’ in her highly personal engagement with hermetic and kabbalistic sources.

Australian liberals and the Liberal Party were once thought laggards in attending to their own history in comparison with the Labor Party. Even so, Robert Menzies’ life and career had been well documented, with multiple biographies and memoirs, including Allan Martin’s masterful two-volume biography (1993-99) and Judith Brett’s influential analysis of Menzies’ ‘Forgotten People’ speech as a key to understanding the ‘public life’ (1992). More recently, liberal political history has become a cottage industry.

Reading fiction is an intimate business. For ten, fifteen, twenty hours of glorious solitude, you engage with ideas, events, and, most especially, characters located in periods and places not your own. The connection with fictional characters can sometimes feel more real and enduring than relationships with real people. For a few years in my youth, I was so deeply attached to the young Hurtle Duffield in Patrick White’s The Vivisector that I wrote a short story in which Hurtle and I lived with Patrick White and Virginia Woolf in Bloomsbury.

I write this review over the Australia Day long weekend, a few items from the national media stand out as exemplary reminders of how poorly Australians are being served by our political class. First, in an embarrassingly transparent nod to Donald Trump and Elon Musk’s juvenile Department of Government Efficiency (DOGE), Opposition Leader Peter Dutton appointed Senator Jacinta Nampijinpa Price to the new shadow ministry for government efficiency. Second, Dutton’s deputy Sussan Ley likened the First Fleet’s 1788 arrival in Australia to Musk’s delusional fantasies about occupying Mars. ‘Just like astronauts arriving on Mars,’ she told an Albury church congregation, ‘those first settlers would be confronted with a different and strange world, full of danger, adventure and potential.’ Around the globe, many are increasingly wary of the political trajectory of the United States in its current phase of advanced decadence, but for Australia’s alternative government, now is the time to cling to the sinking ship that is the American empire.

The title of The Empusium, the newly translated work by Polish writer Olga Tokarczuk, winner of the Nobel Prize in Literature, is an invention. It is a portmanteau that fuses masculine and feminine literary allusions: first, Plato’s Symposium, which tells of a drunken Athenian banquet in which great statesmen give speeches on the nature of love; second, the empusa, a shape-shifting female demon who, according to Greek mythology, had the sirenic ability to lure and prey upon young men.

A motorboat’s propellor chops like a machete across the tide
sending a swift, breaking wave to the shore. I walk slowly
over rocks that are scored, overhung by a low, acned cliff.
In one of the rockpools an octopus stretches away

Picnic at Hanging Rock, the 1975 film directed by Peter Weir, has achieved iconic status in Australian cinema, while the story on which it is based has also yielded a television drama series, a ballet, plays, and a musical. Indeed, the fiftieth anniversary of the film is being marked by the Sydney Theatre Company’s revival of Tom Wright’s modern adaptation. The story enjoying this long and varied life was originally published as a mystery novel in 1967. Yet the author of that story, Joan Lindsay (1896-1984), is herself something of a mystery. Aged seventy-one at the time of her novel’s publication and scarcely known as a writer, she has received little recognition since.

To land within a corona of jonquil, portal
to retrospect, with the immanence of insect. A thorax

hottens, sensational, in its own yellow canopy.
Being, flown via surprise winter (at rest, in instinct)