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Martin Flanagan, well-known contributor to The Age newspaper in Melbourne, has written a peregrinatory first novel in which the narrator, Stephen, is hoping to find the connection he feels he doesn’t have with his own land, and consequently with himself.

‘Somewhere’, Stephen says, ‘there had to be a combination of words that could slow down the world long enough for me to get a look inside, to prove that I existed.’

This book opens with the pregnancy of an Irish actress in 1789 and concludes with the death of her grandson in 1888. There is mystery at both ends of the story, relating in the first case to paternity and in the second to the source of a substantial estate. In between comes a drama of marital dissonance and economic survival played out against the great crisis brought upon the musical profession in England by the collapse of its family-based guild traditions.

It is a gripping read and would make a wonderful mini-series; but it is equally a very welcome contribution to the social history of musical performance over the period when the art was first establishing itself in Australia.

The chief protagonist in Robert Wallace’s Art Rat is a character about as savoury as Sid Vicious at his worst. The Art Rat begins life as Glyn, then transforms himself into Matthew and finally Lupo, psychopath disguised as conceptual artist. With each new identity he sinks further into madness and obsession.

Where women lead, men generally have the sense to follow. Eventually. Feminist fiction, lesbian fiction have developed ahead of gay fiction in Australia. This is one of the many ideas acknowledged or explored in Dennis Altman’s welcome addition to literature about homosexual relationships.

There are some pretty ambiguous rats in this collection and most of them are male but ultimately, it’s the writer’s own unease that cumulatively gnaws away at happiness and achievement.

There were no winners in the first round of the Orr Case. Sydney Sparkes Orr lost his job as Professor of Philosophy at the University of Tasmania in 1955. Suzanne Kemp, who had accused him of seduction, lost her reputation. Her father, who had supported her accusations, was subjected to all manner of speculation and innuendo. Edwin Tanner, a mature-age student who had complained about Orr’s poor teaching and his requests for professional favours, had his life ruined. Dr Milanov, Orr’s colleague who had protested that Orr was harassing him professionally, found himself subjected to just the kind of persecution he had fled in his native Serbia.

Perusing the Australia Day honours list, I was disappointed to see that Judith Wright had not been honoured with a major award. She is one of our greatest living poets, a pioneer environmentalist, and a tireless champion of Aboriginal rights. In this year, when the nation is still coming to terms with the momentous implications of the Mabo decision, it is worth remembering that Wright has been a key supporter of and advocate for the Murray Islanders land case since its inception in 1981. Wright is one white Australian who does not need an International Year of the Indigenous People to draw her attention to the outstanding worth of people such as Eddie Mabo and Mandawuy Yunupingu.

A first novel written with fine-honed discretion and linking three generations of very ordinary Australians, this book has a satisfying sense of the continuities and disjunctions within families.

An ancient grammarian who had pondered Horace’s remarks on whether a good poem is the product of natural aptitude (ingenium) or acquired skills (studium) opted for ingenium and produced what was to become a much-quoted aphorism: poeta nascitur non fit, ‘a poet is born, not made’. His privileging of ‘nature’ over ‘art’ is favoured by those anxious to preserve the mystery of poetry by deriving it from an inscrutable faculty called ‘genius’. Others, eager to unscrew the inscrutable, favour the rival and demystificatory claim that poets are made, not born, which enables human interventions to overcome biological determinism.

This is a stylish book, and is rich with illustration which includes material quoted from the work of a whole range of writers as well as colour photographs that call up an immediate sense of place. It is a unique way to an understanding of Australia’s capital cities – historically, geographically, and culturally, and at the same time to an acquaintance with writers whose work is offered in the context of these cities. The material is essentially descriptive. Eclectic in content and often benign, it offers an alternative approach to our history in terms of landscape and literature. It would make an appropriate gift for readers who are curious about Australian literature/landscape and whose present knowledge is limited. It would also be a useful inclusion in familiarisation packages for diplomatic and political representatives from overseas countries.