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‘Nothing odd will do long’, said Johnson (that great friend of reviewers). If we begin by positing Aland Gould as an odd poet (that is, more than merely eccentric or self-conscious), then whether Johnson is correct about oddness depends on the second half of his observation: ‘Tristram Shandy did not last’. No doubt ABR readers smile at such a sentiment; but if so, then the question becomes whether or not Gould is odd enough.

Near the end of a candid 1966 documentary portrait of Pier Paolo Pasolini shot in 1966 (and shown last year on SBS), the French critic Jean-André Fieschi casually asks the Italian director whether art is for his a ‘matter of life and death’. Pasolini – who up to this point has been discoursing urbanely on class, culture, cinema and language like a true public intellectual – is floored by the question. ‘This changes the whole basis of our discussion,’ he declares, and goes on to confess that everything he has previously said is a mere mask hiding his actual, primal, angst-ridden feelings about life, death and survival. Unmasked as a trembling existentialist, Pasolini announces that the interview is over. And there Fieschi’s film abruptly ends.

Marilyn’s Almost Terminal New York Adventure offers all the ingredients that have made Justine Ettler’s name to date: sex, drugs, tough women, bad men, and rough prose. Thankfully it does leave behind some, though not all, of the relentless violence of The River Ophelia. Marilyn is not as hell-bent on the same masochistic path as Ettler’s earlier heroine, Justine, and the novel admits a light­ness of tone which is initially refreshing.

It was during the writers’ week of the Adelaide Festival in 1992 that I first heard the so-called Australian sense of humour described as ‘Slavic’. This intrigued me at the time; now it troubles me. That week in March 1992 turned out to be the one during which sharp lines were finally drawn in Sarajevo and the attack on Bosanski Brod signalled the outbreak of war in Bosnia. Although it is difficult to weigh the significance of such events to take much notice, the least you can say is that it was a bad week for the whole idea of nationalism.

Edward Colless is the ‘don’ of the art world – in fact, he is Juan, Quixote, and Giovanni all woven together. The Error of My Ways is his ‘mille e tre’ of theoretical affairs – essays and articles that have infected an otherwise sterile art scene with a flame of desire.

It is always a pleasure to read Glenda Adams, a most accomplished and stylish writer. At its best her work displays a natural and unassuming flow, masking artistry of a high order. Admirers of her earlier books will find many familiar concerns in The Tempest of Clemenza; they will also discover her striking out in new directions in a bold and adventurous undertaking.

The first virtue of this study is to remind us of the dramatic, potentially cataclysmic, quality of the mid-nineteenth century gold rushes to California in the late 1840s and to south-east Australia soon afterwards. That was prime among the several characteristics the two experiences had in common. At few other points is there so close affinity in the histories of Australia and the USA. The subject is altogether appropriate for one, like David Goodman, who has engaged in research in both countries, and who teaches their comparative history. The result is a most satisfying monograph. While the heavier incidence is on the Australian side, this is one of the few examples in the Australian repertoire of effective comparative work. One of few others in that list – Andrew Markus’s Fear and Hatred – also probes the goldfield, experience, describing how the British master-race treated the Chinese in either case. Goodman’ s aim is much more ambitious – to reveal basic socio-political responses to the cataclysm of gold.