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‘I remember only peripheries, not centres,’ Michèle Drouan says in her memoir of marriage to a Jordanian and life with his family in a village near Jordan’s borders with Syria and Lebanon. Her perspective is deliberately oblique. Elegantly shaped, and or the most part gracefully written, her story bypasses the obvious cultural divisions. Political, religious, and sexual tensions are given minimal treatment. No dates are given: you would hardly know that the Gulf War comes within the book’s timespan, and when the sound of bombs is heard from across the border, someone quietly says ‘Lebanon’, and leaves it at that.

Given the recent happenings in East Timor, this is a timely novel. It is the moving story of the developing tragedy following the withdrawal of Portugal from its former colony and the invasion by Indonesia. The book is focused through Jose, a fourteen-year-old boy who finds the events puzzling and distressing. He finds some solace in the fighting cock given to him by his uncle, the person he most relies on for wisdom and guidance. Eventually, at the insistence of his mother, he is evacuated to Portugal, where he becomes a lawyer working for Amnesty International. The last chapter brings the book full circle, as we have first met Jose as an adult, in his law office in Lisbon, looking at a paperweight which holds the tail feather of a fighting cock.

Louis Nowra was born in 1950 and is – as he presents himself in this memoir – that very mid­-century thing, an outsider. An outsider in terms of class, mental constitution, and sexuality (for a time), Nowra suffers a worse, and originary, alienation from his mother. Being born on the fifth anniversary of his mother’s shooting of her father ...

List of essentials for a trip to Sydney in 2000: airline ticket, style-repellent, a buddy at SOCOG, rather a lot of money, and, uh-oh, excess baggage alert. I’m afraid these two big paperbacks are a must. With the Olympics looming, an outbreak of books about Sydney was inevitable. But fear not, discerning readers. Jack Egan and Tim Flannery’s tributes to Australia’s first city are not the quick-and-slick kind. Opportunistic they may be, but you can tell they’re done with love.

When I was still a jot at uni, a medical student friend stumbled late out of her latest lecture and reassured me. And then she assured me, ‘It was horrible! We had slide after slide of some dead smoker’s lungs. And they were disgusting! I’m gonna be sick! Give me a cigarette!’ That’s when I first understood that ‘smoking’ was not ever going to be a straightforward subject.

‘Look, here I am, I’m sixteen and I’m hundreds of miles from home! I want adventure! I want excitement! I want to boldly go where no Noble has gone before. Look at me! Look! Look!’ In Leonie Stevens’s Eat Well and Stay Out of Jail, Vicky Noble has left Melbourne to escape the tedium of a shelf-stacking job at the supermarket and the torment of a publicly failed romance. Vicky wants more than just to run away from her life. She craves a brand new one, preferably on the Jack Kerouac model.

‘I’d spent my childhood and adolescence on this sandy moonscape. I was sure I had something to say about it. I just didn’t know what.’ The book is Robert Drewe’s response to that thought. It is, as he says, a portrait of a place and time. The place is Perth; the time the fifties; the portrait is so very sharp, atmospheric, brutal, and deeply moving. There is a strange and haunting sweetness in the voice of the narrator, a clean, wondering charm. The subtitle of the book is ‘memories and murder’ and, like ghastly mutilations discovered outside the shark net, the murders and other horrible deaths drift before our startled eyes.

When I first picked up a copy of Jackson’s Track: A memoir of a Dreamtime place (Daryl Tonkin and Carolyn Landon, Viking 1999), I expected to find the life story of an Aboriginal woman. The striking cover photograph the 1940s of Euphemia Mullett in high-heeled shoes and light summer dress, standing beside a white man and his horse in a forest clearing suggested it, as did the reference to the dreamtime in the book’s title. I soon discovered my mistake. Jackson’s Track is instead the memoir of the white man in the photograph, Daryl Tonkin, who owned land and a timber mill at Jackson’s Track, West Gippsland, for over forty years from the mid-1930s. During this time, an Aboriginal community of over 150 people established itself at Jackson’s Track, setting up camp in the forest and working for Tonkin, felling timber for the mill. Euphemia Mullett was with those people attracted to the promise of work at Jackson’s Track, and she would go on to live there for over thirty years as Tonkin’s wife.

The cover of David Tacey’s earlier book on Australian spirituality, Edge of the Sacred, showed a few parched branches sticking out of the sand. The cover of this one is quite different: billowing clouds, rocks, water, lilac sunset colours. You might think that a certain blossoming had taken place; that Tacey’s project – the spiritualising of ‘secular’ Australia – had been wonderfully realised. On the other hand, the luscious hues of ReEnchantment’s cover may place the book more firmly still in the realms of fantasy – a genre that also happens to be popular with Tacey’s publisher, HarperCollins.