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The Art of War is published ‘to accompany the television series’ produced by Film Australia and to be broadcast on SBS. The television spin-off is an attractive genre for an art book. Writers have to keep to the point. There is a conventional picture-book formula, comprising a potted artist’s biography, a bit of art-historical placement and sometimes too little about what is specific to the work. Lola Wilkins’s Artists in Action: From the Collection of the Australian War Memorial (2003) is a good example. But a television producer knows that the words must concentrate upon the works we are staring at: forget the biography and the art history; just look at the art. Betty Churcher, like Sister Wendy, is very good at looking at works of art. For vivid specificity, take Colin Colahan’s striking Ballet of wind and rain (1945), men suddenly glimpsed leaning into the midwinter elements on a recently liberated airfield. Churcher suggests that it was so titled ‘perhaps because he has danced his brush across the canvas to simulate wild gusts but more likely because the four RAAF airmen duck their heads in unison like the cygnets in the dance from Swan Lake’.

Publishers and the publics they serve seem enthralled by the idea of ‘the best’. The best of what is ultimately less important than the superlative itself, which implies a rigorous screening process to isolate the most worthy material. Never mind that magazine and book publishers have already put writing through a brutal screening process with acceptance rates from .01 to 1 per cent. For readers whose schedules or temperaments prohibit them from doing the work themselves, a collection of ‘The Best’ can be useful and appealing.

Gay Bilson, in her Plenty: Digressions on Food, is good on garnish. She describes the occasion of the queen mother’s tour of this country in 1958, during which the royal visitor ‘was offered white-bread sandwiches in the shape of Australia, with a sprig of parsley at the south-eastern tip, thoughtfully representing Tasmania’. Bilson understands, wisely, that the anecdote speaks for itself, and requires not further garnishing from her. Instead she reflects on the strange resilience of the parsley sprig, and the way it keep turning up on plates, decade after decade, as a signal to the diner that the dish had been composed by someone with an interest on how it looked on the plate; that somebody in the kitchen was taking the trouble, even if only to the extent of adding the sprig of parsley that had been sitting patiently in chilled water, waiting for its big moment.

‘Some of the ideas for this book were first tried out,’ writes its editor, David Carter, during the 2001 conference of the European Association for Studies of Australia at Lecce, in southern Italy. Displaying interest in Australia as a way to get one’s fare paid to leave the country is not the only reason why this bain-marie of a book has not found a reason to exist.

While you read this review, someone somewhere in the world is organising his or her calendar for the next few years to make sure that it will include at least one performance of The Ring. Special flights, advance tickets, holidays and sabbaticals will be juggled with, and ‘The Festival Play of Three Days with a Preliminary Evening’ will be tracked down and added to a pilgrim’s relentless progress. The opportunities are widespread temporally and geographically. Bayreuth manages a new or an adapted production each year, and opera houses and festival sites round the world have become devoted to mounting Ring productions – some at colossal cost and others of ingenious improvisation. Cologne and Adelaide are merely the latest to come to mind, within a month or two of each other this year. Der Ring des Nibelungen has at last become the World Drama that Richard Wagner planned; however its box-office success is taking its composer’s real intention ever further from realisation.

Janina Milek – born in Poland in 1921, shunted out of it with her parents and siblings by the Russians to become human draught horses in Siberia in 1940, released via Uzbekistan to a refugee camp in Iran in 1942, transferred to another refugee camp in Lusaka in Africa in 1943, and shipped to Australia in 1950 – told Tim Chappell that her family was simply in the wrong place at the wrong time. When she finally had some kind of say as to where she might live (an Australian commission offered places to healthy persons from the African camp), the one thing she knew was that she would not go back to Poland and live ‘on the back of an old woman’s tongue’ (Janina’s marvellous phrase for gossip mongering). Her mother, to whom Janina had been completely devoted, suddenly announced that she wanted only to return home. Janina was deserted by the one person she now lived to care for.

Liz Conor’s accomplished history of the ‘modern appearing woman’ in 1920s Australia has much to recommend it. The archival work that it represents is fascinating and suggestive of a trove of female energy, sadness and invention. Hilarious and ambivalent stories emerge of Sydney ‘gals’ and Business Girls, of a New York flapper with traffic lights painted on her silk stockings, and of Amelia, an indigenous maidservant, who invented grunge without her mistress recognising style when it stepped up to her table in a red skirt, man’s striped shirt and big boots. These and other stories trace the vigour of young women’s determination to respond to the consumer possibilities of a spectacular new world of media images, electric light and postwar male uncertainties.

We read for pleasure; perhaps this way we find out more about ourselves. Pleasure comes first, a fact that is often lost when a book is overanalysed, always a danger when questions follow a pattern of interpretation designed to trace a line around a response. Picture books are particularly vulnerable, as their words are few and they are becoming more sophisticated, drawing on traditional, modern and symbolic art. Whether a child will find delight would be my first criterion for the purchase of a picture book. It doesn’t have to be all sweetness and light: a shiver of fear may be just as engrossing as laughter.

In the latter decades of the twentieth century, the idea of ‘culture’ was radically democratised. The meaning of the word shifted away from the old, exclusive definition – culture as ‘the best which has been thought and said in the world’, as Matthew Arnold put it in 1869 – and became a more inclusive concept that took in popular forms. We have become used to the idea that there is no clear dividing line between high and low. There is something liberating about having the freedom to treat popular cultural forms as the objects of serious attention. Even Meanjin, the most venerable and literary of these three journals, can publish an essay – an interesting. well-written and intelligent essay – on a pair of television soaps without it seeming out of place alongside more traditional subjects. But while some barriers fall, others go up. Cultural studies, as the academic discipline that has sprung up to exploit this relatively new freedom, faces the question of whether it should direct itself toward a general, non-academic audience or police the distinction between ‘serious’ academic writing and the kind of analysis that might be found in the mainstream media.

Near a little beach at Northbridge, in the heart of Sydney’s northern suburbs, the vertical rock face carries the image of a whale, about life-size, created by the original inhabitants at some indeterminate date. ‘[B]ecause of its precipitous location,’ says Gavin Souter, ‘one cannot stand far enough away to take it in all at once. Head, fins, flukes and flippers have to be viewed separately, then put together.’