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In the winter of 1968–69 the buildings of the Institute for Social Research at the University of Frankfurt – the symbolically resonant home of what had come to be known as the Frankfurt School – were occupied by students. The police were called in, and Theodor W. Adorno, one of the great radical theorists of the twentieth century, pressed charges against a young man whose doctoral work he was supervising. Two months later, a group of women forced their way into Adorno’s lecture, handed out leaflets proclaiming that ‘Adorno as an institution is dead’, and ‘surrounded him, strewing flowers, performing a dumb show and … baring their breasts’. In action after action, the contempt of the students for the radical theorists of an older generation was made clear.

Fortunately, only a part of this book (the inferior part) attempts to take on the impossible task implied by its title and first sentence: the task of explaining how, or whether, the Modern Age is the Jewish Age. Nor, to its credit, does the book try to smother its failure in irony. It really means to take this task on. When it does so, particularly in the opening chapters, it lapses into obscurity and metaphor. The topic is too large for the author and is bound to escape him.

In 1964 the Australian television show Bandstand set up an annual talent contest called Bandstand Starflight International. In its first year, one of the national finalists was a sixteen-year-old schoolgirl called Robyn Smith, who later changed her surname to Archer. The following year, the contest was won by a 24-year-old professional singer called Helen Reddy.

Kate Llewellyn has written sixteen books, which is quite an achievement. They include poetry, fiction and autobiography. One book, The Waterlily (1987), has sold 30,000 copies, a notable accomplishment for any author. The Waterlily was the first book in Llewellyn’s Blue Mountains trilogy; the second was called Dear You (1988). I read it years ago, having borrowed it from a library because I suspected the title might be an indication of the tone. It was not the epistolary format that gave me pause: I have relished many correspondences, ranging from the passionate exchanges of Julie and St Preux in Rousseau’s Julie ou la Nouvelle Héloïse (1761) to Robert Dessaix’s grapplings with life-threatening illness in his acclaimed Night Letters (1996). But for my taste, the series of missives beginning ‘Dear You’ betrayed an irritating archness. The author seemed to be caught between the heady excitement of Revealing All and a coy fear of saying Too Much.

At the age of twenty, Peter Conrad slammed his Australian door shut behind him. He was travelling into the ‘wider world’, away from his native Tasmania to take up his Rhodes scholarship at Oxford; he went with barely a backwards glance. Growing up as an omnivorous reader of English literature in the years of what he has called his ‘colonial childhood’, the young Conrad had become increasingly resentful at the perverse randomness of his exile. What he could only think of as an administrative error had relegated him to an Australia that seemed vacant and vacuous. When his time came, he ruthlessly withdrew his affection from parents and country. This snake-like shedding of skin was his liberation. Crossing Waterloo Bridge in August 1968, he had – like Wordsworth before him – a moment of epiphany. As the bridge ‘ran out into the Aldwych in a sunny crux of blue dust’, the young Conrad passed innocuously through the door by which he stepped into life. In confessional mode, he later celebrated this as the exact moment of his birth. That was when the years of his Australian youth were cancelled out, relegated to a phase of mere ‘pre-existence’.

Imagining Australia collects nineteen essays from a 2002 conference on Australian literature and culture at Harvard University. Of course, as the proceedings of a conference, it is on occasion hard work. There is something about conferences – the dedication of their audiences, perhaps, or the vulnerability of their speakers – that encourages a somewhat defensive formality. That said, almost every essay in this collection repays a reader’s investment with interest: in describing the history of Australian literary journals; offering a new direction for Australian pastoral poetry; providing surprising perspectives on popular Australian myths; or looking at how contemporary poets use form.

After rain at cooler times of the year, the bush is full of fungi. Fruit-bodies of mushrooms, truffles, puffballs, morels, slime moulds and other larger fungi spring forth in a great variety of shapes and colours. For select Australian fauna and flora, such as birds, reptiles or orchids, there are comprehensive and richly illustrated field guides, which have sufficient text to assist the user in putting names to species encountered. However, existing guides to Australian fungi cover a rather limited number of species, or lack text. Putting names to the multitude of fungi is therefore rather difficult.