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When Gabriel García Márquez’s One Hundred Years of Solitude was first published in English, there was an outbreak of what the late Angela Carter called ‘extravagant silliness’. Márquez’s novel was given a rapturous reception that focused on its wondrous exoticism, with scant regard for its grounding in the social and political reality of his native Colombia. Throughout the 1970s and 1980s, Carter was prominent amongst English writers who, influenced by South American fiction, began to take an interest in folklore and fairy tales, and to incorporate elements of fantasy into their work. But she recognised that the apparently strange dreams Márquez describes ‘are not holidays from reality but encounters with it.’

Mai Ho and her two baby daughters huddled together in a crowded Vietnamese refugee boat. In the dark hull, they could sec equally frightened strangers. The nineteen-year-old mother thought of the husband she had left behind and of her future in a foreign land:

Her two dishevelled little girls lay across her bosom and the taint of their urine blended with the sour odour of her dress. ‘They would like to go to the toilet but they would have to crawl across too many people and that would make noise so I said to them that they can just pass water on me. So my clothes from the waist down [were] very itchy, lots of rash.’

To read this story of ‘how the car conquered our hearts and conquered our cities’ is to feel invited – to reflect, as its author Graeme Davison does in his introduction, on one’s own relationship with the automobile. And it requires immediate admission: mine is minimal. I do not, cannot, and probably never will drive a car. I am noted among friends for a casual attitude to such niceties as locking doors. Only with difficulty have I mastered the operation of a petrol bowser.

To read this story of ‘how the car conquered our hearts and conquered our cities’ is to feel invited – to reflect, as its author Graeme Davison does in his introduction, on one’s own relationship with the automobile. And it requires immediate admission: mine is minimal. I do not, cannot, and probably never will drive a car. I am noted among friends for a casual attitude to such niceties as locking doors. Only with difficulty have I mastered the operation of a petrol bowser.

For a man who was supposed to have a shot memory, Alan Bond has a remarkable power of recall. In the mid­1990s, facing fraud charges concerning his dealings in Manet’s painting La Promenade, he – or rather, his barristers – successfully argued in court that a series of minor strokes had left him with brain damage and a memory so defective he couldn’t possibly be expected to answer prosecution questions. Those Australians who reckoned all along that he faked the forgetfulness, the shuffling gait, and the vacant stare at the television cameras outside court will doubtless be confirmed in their view that he’s a shameless liar.

London seen through a haze of smoke and fire in J.M.W. Turner’s famous painting, The Burning of the Houses of Parliament, is the evocative cover image for Shirley Hazzard’s long-awaited novel. The Great Fire comes twenty-three years after Hazzard’s brilliantly composed, witty, and ultimately tragic work ...

For many Australians, Patrick Dodson is the guy with the land rights hat and flowing beard. With Paddy’s Road: Life stories of Patrick Dodson, Kevin Keeffe ensures that Dodson will also be remembered for being the first Aboriginal priest and for his contributions to the reconciliation movement.

In the bitter federal election of 1917, Labor’s member for the marginal seat of Corio fell victim to dirty tricks. As a quartermaster sergeant in the AIF’s 3rd Division, A.T. Ozanne shouldn’t have been opposed. But Prime Minister Billy Hughes became electorally desperate, and he published a cable from General Monash, the division’s commander, which portrayed Ozanne as a deserter. Ozanne was indeed not in France with the AIF volunteers, but it was because he had been given medical leave, quite authentically. Monash was careless with the facts, and perhaps misled by officers who disliked Ozanne. Hughes’s ruthless use of the cable destroyed Ozanne’s political career.

Chandani Lokugé’s second novel touches on a theme common to such varied texts as Michel Houellebecq’s Platform (2002) and Alex Garland’s The Beach (1997): the Western fascination with, and exploitation of, the communities of beautiful Asian beaches.

Turtle Nest takes the postcard-perfect idyll of a Sri Lankan beach as the setting for a far from idyllic tale about exploitation and family tragedy. Aruni journeys to this beach from Australia in order to find out more about the history of her mother, Mala, but her pilgrimage does not give her peace.