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Is Robert Adamson Waving to Hart Crane, or drowning? He is certainly calling for help. In 1930, Hart Crane turned his back on Eliot’s The Waste Land and built The Bridge, a poem ‘to launch into praise’, to span across despair towards some brighter shore. But Adamson does not like what he finds on the other side, ‘No sonnet will survive / the fax on fire’, he warns.

The Clean Dark, the 1990 volume that won several national awards, was Adamson at his most meditative, gliding through his riverscapes like a boat at high tide. This time, Adamson is having an argument; with poetry, with other poets, and even with himself. His verse is peppered with questions, with question marks, and exclamation points. He is a shape changer, who breaks down his lines into new forms from poem to poem, and erases his own syntax as he goes along.

In recent times, we hear, stars of TV serials such as Neighbours and Home and Away have been mobbed on arrival at Heathrow Airport, and recognized even in Finland – Australian production houses appear to have a talent for capturing on screen alluring fantasies and traumas for purveying to mass audiences, both home and away. The foundations for this sorely-needed export industry were doubtless laid in the 1940s and 50s, when Australian radio serials and drama were heard around the globe, at least in English-speaking countries (subtitles are difficult on radio). At home, hundreds of hours of drama were pumped out every year on ABC and commercial stations ...

On the day of the last Federal election, I became engaged in an unlikely conversation with a helper for the ‘Call-to-Australia’ cause at my local polling booth. When I revealed that I had recently completed a research project on Dr H.V. Evatt, my elderly companion asserted that Evatt should not be hailed as the hero of the labour movement. Australia’s greatest politician, this former member of the Australian Labor Party informed me, was ‘Edward Granville Theodore’.

Contemporary Aboriginal writing, like Aboriginal art, is now so diverse that is impossible to talk about any one particular style. John Muk Muk Burke, whose first novel, Bridge of Triangles, has just been published, recently told a Sydney seminar for Aboriginal writers that they were no longer writing from the viewpoint of victims. He said they were survivors rising from the ashes of the invasion like the phoenix. Burke’s own novel is multi-layered, poetic and visually strong, with a structure informed by his study of world literature.

Mickey and Mallory love to kill. Murder comes naturally to them – it’s all part of a successful day’s work. Bullets fly, bodies drop, and the couple move on as if enjoying a prolonged shopping spree in which the objects consumed just happen to be human lives. Their actions blend in perfectly with a culture that emphasises mass production, mass consumption, repetition, seriality. After all we live in an era that has not only produced a new breed of serial killers but also raises them to the status of folk heroes – icons to be consumed, in turn, by the media, fans, filmmakers, writers, profiteers. Mickey and Mallory are also deeply in love; a starry-eyed Romeo and Juliet whose passion, in the post-consumer society, feeds on a continual diet of violence, cruelty, death. (It is perhaps telling that in many contemporary films, violence and murder serve to unite the couple rather than drive them apart.) This circuit of consumption, repetition and seriality is self-regulating, continuous, carnivorous.

Whether you track backwards in time from the hidden pestilence that is Chernobyl, or forwards from the vengeful terror of Stalin’s collectivisation and anti-nationalist policies, it is an inescapable fact that the Ukraine has had a bloody and awful century. In the winter of 1932-33 alone some four to five million Ukrainians died in ...