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When did Australia grow up? Australian historians have accepted, almost as an obligation of their trade, that they must declare the moment when the child reached mature adulthood. Was it, as Justice Murphy proclaimed in splendid isolation on the High Court bench, at the moment of the adoption of the Commonwealth Constitution in 1901? He was, admittedly, an amateur historian. Was it with the passage of the Statute of Westminster in 1931, when the Dominions were given the right to have their own defence and foreign policies? Or in 1942, when Prime Minister Curtin looked to the United States ‘free of any pangs as to our traditional links and kinship with the United Kingdom’? Or with the signing of the ANZUS Treaty in 1951? Or is the safest thing to stick with the election of the Whitlam government in 1972?

The public legacy of the art patrons John and Sunday Reed endures in various ways. Their influence is a strand in the story of the notorious ‘Ern Malley’ literary hoax. They played a major role in the emergence in the 1940s of an important circle of Melbourne modernist painters, including Sidney Nolan, Albert Tucker, and Arthur Boyd. Against the forces of conservatism and resistance, John Reed, in particular, was a public advocate in Australia for contemporary art from the 1940s until the end of his life. Janine Burke and the curator Deborah Hart have reminded us that the friendship and hospitality of the Reeds at Heide helped give expression to the untamed talent of the young Joy Hester. In 1979, John Reed remembered Hester at twenty: ‘a funny little synthetic blonde hoyden with very naïve ideas about the world.’ But, he added, she ‘was a rare and lovely person, one of our most beautiful artists and a natural poet’. Hester’s story, important in its own right, is inextricably a part of the larger story of John and Sunday Reed.

There is something irresistible about trying to trace a connection between notorious lover and memoirist Casanova and notorious lover and poet Lord Byron in Venice – the seductive city where both men worked their way through galleries of women. Casanova estimated that he had had more than one hundred and thirty in 1798, the year of his death, although that was his lifetime’s count, not just the Venetian episodes. Byron, on the other hand, reckoned that he had got through more than two hundred in Venice alone – and in less than two years – before he stopped counting. Between their frenzied trysts was a tantalisingly small gap of thirty-odd years: Casanova was sent into his final exile from Venice in 1782, before Byron was born; Byron arrived in 1816. People who had known the Italian must have met the Englishman.

Mardi McConnochie’s first novel is a strange strain of literary adaptation. In Wide Sargasso Sea, Jean Rhys manufactured a life for Charlotte Brontë’s madwoman in the attic, Bertha Rochester. McConnochie goes one step further and hijacks the Brontë sisters themselves, transplanting them from their Yorkshire home to an island called Coldwater somewhere off the colony of NSW. There the sisters are literally and metaphorically imprisoned; Coldwater is a penal settlement and their father is the prison warder. Desperate to escape their probable futures as ‘bush wife, town wife or military wife’, the sisters decide they fancy their chances as authors. Coldwater facilitates this ambition by providing a backdrop where fact and fantasy can be unhappily wedded. The idea is that the collusion of isolation, violence and romance will offer these quasi-Brontës the requisite inspiration for future books. Hence a new prisoner, Finn O’Connell, ‘feral, untamed, unbowed, yet somehow noble’, becomes the prototype for Heathcliff and the desolate, inhospitable island is reconstituted as the whispering Yorkshire moors.

Australians have always played their sports hard. We who would have given a soft part of our anatomy to have worn the baggy green for Australia love a winner or a victorious team. Our sporting aristocracy has often been characterised by a gimlet-eyed, thin-lipped determination and ruthlessness: Don Bradman is the apotheosis of these champions.

Blessed are the compilers of dictionaries, writers of reference books and encyclopedia entries – how would we access knowledge without them? But if they work in the Australian university system, they are not blessed by the Department of Education, Training and Youth Affairs, which awards no research points whatsoever for such activities. Lindy Abraham’s esoteric-sounding dictionary of alchemical imagery is a fine example of the kind of scholarly labour that doesn’t fit well with bean-counting bureaucrats’ notions of ‘productive’ research. With her assistance, we gain access to a world-view that had its roots in Hellenistic Egypt in 300 BC but, during the Renaissance, re-emerged as a powerful intellectual force: a precursor to modern science, as well as a systematic form of philosophy.

This is a book about pain. In December 1999, Arthur Reilly was diagnosed with life-threatening cancer. The methods of relief offered to him, principally morphine, had drastic side-effects which undermined what pleasure he might have found in living. For four months, he lost weight and showed little interest in his usual activities. He became depressed and contemplated suicide.