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After Ned Kelly, the story of Burke and Wills ranks high among Australians’ favourite tales of heroic failure. Simpson and his donkey are on the list, followed closely by any number of stories from the locker rooms of sporting clubs both great and small. There are strict conventions governing the telling of these stories. However pointless, futile, and even bloody they may have been, they are handed down as stories of romance. Kelly, Simpson, and Bradman all had a final stand. The hero, in his final stand, is alone on a pedestal. The other people around at the time are reduced to the role of extras. It’s a pity. Arthur Morris, the man at the other end when Bradman was dismissed for a duck in his final innings, went on to make 196. Nobody much remembers. Joe Byrne, Kelly’s closest ally and confidant, happened to speak Cantonese. An addict, he had picked it up among the opium traders of Beechworth. Byrne’s acquisition of a Chinese language is far more interesting than the dreary question that has been provoked by yet another movie version of the Kelly story – whether or not Ned spoke with an Irish accent.

If you like business bodice-rippers, these are blissful days. After the host of books that emerged from the dot com Götterdämmerung, another wave of cautionary tales has hit the shelves. I reached for Mark Westfield’s HIH after reading my third book about Enron, Mimi Swartz’s Power Failure, and was struck at once by a casual coincidence: that both Enron’s Ken Lay and HIH’s Ray Williams insisted on being referred to as ‘Doctor’. In Lay’s case, this was on account of his PhD in economics. Williams laid rather flimsier claim to his honorific, after Monash University rewarded him for various endowments with an honorary doctorate in laws in 1999.

Renée Goossens, born in 1940, is the youngest daughter of the composer and conductor Sir Eugene Goossens. Married three times, he had three daughters with Dorothy Millar, and two more with his second wife, and Renée’s mother, Janet Lewis. His third marriage, to Marjorie Foulkrod, was childless. It is characteristic of this memoir that Renée Goossens remarks early in the narrative that she never met one of her half-sisters and that it was decades before she met the other two. Her life seems to have been marked or scarred by a series of disappearances on the part of significant family members and by unexplained absences.

Marion Halligan’s latest novel should be a success. It is a continuation and concentration of themes, characters, and settings that have consistently engaged her in a considerable body of work. The Point is full of Halligan favourites: food, art, love, literature, hubris, Canberra, Séverac, and the Spensers. It is a novel with currency, exploring the IT industry, the business of food, and the perceived distance between those with and those without. Halligan has a reputation as an intense and original writer, but The Point is a disappointing novel.

In the list of life’s most stressful events, family breakups and moving home are way up there in the top ten, and one often follows the other, compounding the trauma. This is the situation for eleven-year-old Rain in Catherine Bateson’s Rain May and Captain Daniel, when her mother, Maggie, sells their inner-city house in the aftermath of divorce. They head for the country to turn Grandma’s deceased estate into a dream home. Maggie’s hopes are higher than her daughter’s: she foresees serenity, harmony, and self-sufficiency; Rain expects ‘Boringsville’.

Poems are like mangroves. They lodge and grow in the mind, becoming part of us, just as these plants take root in estuarine silt. Even on the page, there is sometimes a resemblance. As its title suggests, Laurie Duggan’s first volume since New and Selected Poems (1996) is substantially a product of his recent move to Brisbane, containing a large section of poems coloured by references to the city’s subtropical conditions. However, Mangroves also brings together varied material that dates from 1988 to 1994, some of which – notably the ‘Blue Hills’ sequences – has been published elsewhere.

W.H. Auden, following Samuel Butler, thought that ‘the true test of imagination is the ability to name a cat’, and plenty of people, poets, and others have believed this: to recast a dictum of Christ’s, if you can’t be trusted with the cats, why should we trust you with the tigers? Gwen Harwood could be trusted with the cats, and with yet more domestic things; here, for example, is her fairly late poem ‘Cups’