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Val Plumwood, the author of a highly praised defence of eco-feminism, Feminism and Mastery of Nature, presents in this book a critique of ‘rationalist culture’ and explains why it harms nature as well as so many people. Plumwood’s criticism of rationalism centres on the thesis she advanced in her earlier book. From Plato onward, it has been regarded as rational to divide the world into polarised and homogeneous conceptual categories (reason/emotion, culture/nature, spirit/matter, masculine/feminine) and to regard things falling under the first term of these dichotomies as superior to those belonging to the second. This way of thinking, Plumwood argues, has given rationalists a licence to ignore the needs of beings deemed to be inferior – to dominate and exploit them for the sake of their ‘superiors’. In particular, it has been used to justify the domination of nature and of women.

‘He looks a bit like Marty Feldman with two good eyes.’ So wrote a journalist of Geoffrey Blainey in 1977. In The Fuss That Never Ended, a collection of essays on Blainey arising out of a Melbourne symposium, Bridget Griffen-Foley no less irreverently compares the historian to a character played by Steven Seagal in a movie she saw on television – not because he shares Seagal’s ‘fake tan, ponytail, high-pitched voice, rippling muscles, kickboxing prowess or lurid, technicolour knee-length leather coat’, but because of his ‘style of investigation’ as a young historian. Blainey, she suggests, was neither bookworm nor archive rat. He went into the field, spoke to real people, visited historical sites. His work even helped his first employer, the Mount Lyell Mining and Railway Company, to exploit long-forgotten mineral deposits. Since producing his history of that company in his early twenties, he has been Australia’s leading mining historian, and one of that industry’s staunchest defenders. It has probably been easier for most people to swallow Blainey’s historical and economic arguments in favour of mining than Hugh Morgan’s biblical ones.

Stephen Edgar’s fifth volume, Lost in the Foreground, is a book of marvels, both technically and in the elegant, magisterial reach of its content. He is wonderfully inventive, and his complex rhyme schemes and forms are achieved with such precision and finesse that one can only conjecture as to how long each piece must have taken to become so lovingly and artfully realised.

When I was about ten, I used to devour the books of an English children’s author named Noel Streatfield. The most famous was called Ballet Shoes, which took young antipodeans onto the stage and into the wings of another world, the London theatre scene. Galina Koslova, a Russian-born émigrée to South Australia and the heroine of The Snow Queen, gives Ballet Shoes to a step-granddaughter, correctly designating it a classic. I wondered whether Mardi McConnochie’s novel was designed to fill the gap left on adult bookshelves by long-abandoned copies of Ballet Shoes, even if our reading requirements have matured.

Is the great white middle class endangered in Australia? If it is, does it matter greatly? Michael Pusey answers ‘Yes’ on both counts. He argues that we are seeing a ‘hollowing out of the middle’. If he is right, this hollowing out has significant consequences. Both major political parties have spent decades courting the wannabe middle class – from Robert Menzies’ ‘forgotten people’ to Gough Whitlam’s outer suburbanites, and from Mark Latham’s ‘aspirational’ voters to the recipients of John Howard’s tax welfare and handouts for private schools. A significant contraction of this constituency would create political shock waves. In addition, the decline of the middle class would throw an interesting light on our current prime minister who, more than anyone since Menzies, has represented middle-class values and aspirations while championing the radical economic restructuring that Pusey sees as leading to the decline of the middle class.

With the growing politics of fear focused on Islam, and the pervasive ‘Othering’ of Muslims both nationally and internationally, this book on the everyday lives, beliefs, and practices of Australian Muslims is an important social antidote. Abdullah Saeed, a leading Australian Muslim scholar of Islam, provides us with a readily accessible book that introduces the basics about the religion of Islam, and a short social and cultural history of Muslims in Australia. It explores Islamic religious organisations and leadership in Australia, the diversity of Muslim communities, common stereotypes and misunderstandings about Islam as well as the difficulties and discrimination Muslims have experienced in Australia. This is a clear, concise, culturally sensitive and diplomatic little book for a general readership.

Many people regard cyberculture as the territory of boffins, sci-fi enthusiasts, and ‘itinerant wanderers’, and inescapably limited to computer technology. However, the term is also applied to a field of research, one that has always been interdisciplinary: traversing philosophy, mathematics, physiology, biology, linguistics, cognitive sciences, physics, and sociology. Prefiguring Cyberculture: An intellectual history exemplifies this cross-disciplinary approach.

Empire is everywhere. You can see it in the shanty towns of São Paulo and on the coffee tables of the well-heeled in Boston and Sydney. It made us, in its British form, in the antipodes via the expeditions of Cook and Banks, and all that followed. Now it dominates our newspapers and television screens in the form of war.

This beautiful book showcases the botanical orchid illustrations of John Riley, a retired shearer whom some regard as Australia’s finest living botanical illustrator. Riley started drawing Australian orchids in the 1970s, and this volume includes subjects that date back to 1992. It lists 150 works. Those who take book titles literally will assume that this volume contains illustrations of all our native orchids. This is not the case. We have a rich flora of about 1,200 species. This, therefore, is the first in a planned series intended to describe and illustrate all our orchidaceous flora.