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This book is as beguilingly English as a Fortnum & Mason picnic hamper. Peter Stothard (a former editor of The Times and current editor of the Times Literary Supplement) spent a month inside 10 Downing Street reporting in intimate detail the comings and goings there during the critical days before and after the Coalition of the Willing began its assault on Iraq on March 20 this year. He evokes a life-size doll’s house from which a war is being waged by perplexed adults in suits and jeans, who pick spasmodically at substandard food, fantasise about fitness régimes and support spectacularly unsuccessful soccer teams. The man in charge lives in a flat above this strange enterprise with the rest of his family.

In the first part of his new collection, Graeme Hetherington returns to the cultural territory he presented, differently registered, in In the Shadow of Van Diemen’s Land (1999). This is the west coast of Tasmania, reconstructed this time, in ‘West Coast Garden of Eden’, as the provocative place of his childhood, an Eden after the Fall in which innocence has long before succumbed to temptation. The twenty-seven parts of ‘For Boyd’ present Boyd as the narrator’s schoolmate, a son of working-class parents who has Paul Newman looks, a careless disregard for all forms of authority, an impressive and precocious sexual appetite, and a rebel’s capacity for mischief.

Geckos and Moths is a time capsule. A note by the author, Patricia Johnson, indicates that the first draft of the book was written thirty years ago, after her partner had drowned in the Trobriand Islands. In many cases, a book begun so long ago and in such circumstances might best have been left in the bottom drawer.

Writing this on the first Tuesday in November, I am struck by how different contemporary Australian poetry is from the Melbourne Cup. There is no money in poetry, of course, and in horse racing everyone, even the horses, are much better dressed. What’s more, despite complaints to the contrary, the returns are usually better when it comes to reading poetry than spending your days at the TAB. Martin Duwell’s The Best Australian Poetry 2003 and Peter Craven’s The Best Australian Poems 2003 are dead certs, compared to the boundless unreliability of horses.

In Through the Looking Glass, Humpty Dumpty, among his various pronouncements to Alice, pontificates on the meanings of names. After describing the name Alice’ as ‘a stupid name enough’, Humpty Dumpty asks her what the name Alice means. Alice is doubtful: ‘Must a name mean something?’ And Humpty Dumpty retorts: ‘Of course it must ... My name means the shape I am – and a good handsome shape it is, too.’ The question of the meaning of Alice’s name is left unanswered in Lewis Carroll’s text, but it is answered in William Noble’s Names from Here and Far: The New Holland Dictionary of Names. Alice, we are told, is an English form of the name Adelaide, which in turn is a compound from the Germanic words athel, meaning ‘noble’, and Hilda, meaning ‘heroine’, or heid, meaning ‘kind’. Thus Alice means something like ‘nobly born’.

Tackling a ‘worthy’ theme and making a poem or story readable and entertaining is a challenge. There is a fine line between subtlety and didacticism. My Gran’s Different manages, just barely, to stay on the right side. The narrator’s grandmother is different: she has Alzheimer’s, though this is never spelt out. Instead, there is a dual story: one part is the journey of a boy on his way to see Gran; the other is his friends’ grandmothers, who each have their own speciality – footy fan, florist, art gallery owner and so on. At last we discover why Gran is different and understand the special relationship the boy has with her. Children will inevitably ask why Gran ‘can’t remember who she is’. There is an expectation that the adult reading the book will be able to answer this question, because no information is given. Anyone intending to use this as a way to explain an elderly relative’s condition will probably find that it’s only the first step.

On 25 April 1984, 300 people attended the dawn service at Gallipoli. In 2000 there were 15,000, many of them young Australians. In recognition of his renewed interest, Patrick Carlyon (who was at the 2000 service) has written The Gallipoli Story. Looking beyond the well-known Anzac heroes and stories, Carlyon takes us into the trenches and introduces us to individuals: young men with names and hometowns, with sisters and girlfriends; young men who are afraid and confused. The shocking waste of life, as soldiers from both sides charge to their deaths, can make for uncomfortable reading, but Carlyon has refrained from gratuitous violence. It is one thing to have hundreds of dry facts and statistics at hand, quite another to weave these facts into an engaging story. Carlyon has managed it superbly.

Much young adult fiction is about not fitting in. How that topic is covered distinguishes the hack from the frustrated pedant and the gifted writer. This review covers eight YA novels by skilful writers whose diverse works are peopled by those who refuse to fit the norm.

Rupert Murdoch certainly attracts a good class of biographer. There was George Munster, who contributed so much to Australian politics and culture by helping to establish and edit Nation, and William Shawcross, one of Britain’s most prominent journalists. There were other biographies, too, before the efforts of Bruce Page ...