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This is not another ‘slim volume’ of poetry; no way would it fit in a coat pocket. Ten years in the writing, weighing in at 740 pages, it is a brick of a book – well-bound paperback, heavy covers, designed to last. The poet had full say over not only the content, but the design, typesetting and production, resulting in a book unlike any produced under the nervous economic dictates of mainstream publishers. Six turned this manuscript down. Unsurprised, p.O. published it himself.

Artful Histories represents that extraordinary achievement – a learned critical study, based on a thesis, which is exhilarating to read. While it covers the expected ground, with careful accounts of Australian autobiographies of various types, it also addresses a core problem of current literary debate – the relative status of different literary genres, and the interrelation between writing and life. There is no mention here of The Hand That Signed The Paper or The First Stone (they are beyond the range of the discussion) but McCooey’s elucidation of the relationship between autobiography, history, fiction, and life bears directly on the issues which have kept Australian readers arguing over the past year. At the end of his chapter on autobiography and fiction, McCooey summarises the difference in a seemingly simple statement: ‘Fictional characters die fictionally, people die in actual fact.’ The implications of this are far from simple, and McCooey argues for the maintenance of the boundary between genres on the grounds of moral responsibility.

Six weeks after the First Fleet sailed for New South Wales Edward Gibbon completed The Decline and Fall of the Roman Empire. Probably the finest example of the Western tradition of history as chronological and sequential, Gibbon’s work provided the Europe of his time with a panoramic background against which the achievements of modern civilization could be measured.

Almost at the end of his very long biography, Tom Roberts, Humphrey McQueen wonders why – if Australian landscape painting had so much need of a father – ‘no-one thought to install Margaret Preston as the mother’ of the genre? He has a suggestive answer to a question which needed to be posed:

Hayden: An autobiography is a fine book – one of the best political memoirs written by an Australian. It’s also a valuable historical work by a former politician who, thank God, doesn’t take himself too seriously.

Bill Hayden clearly made good use of his time as governor–general (1989–96) to undertake extensive research. In the acknowledgments section, the author gives generous thanks to librarians and archivists who assisted his endeavours. But it is clear that much of the detailed work was undertaken by Hayden himself.

The Sunken Road is an ambitious novel which sets the crisscrossing lives of families in the northern highlands of South Australia against a temporal panorama of a century and a half and forces that extend far beyond state and continent. It is a compassionate but never sentimental account of a collective experience full of hope, pain, exploitation and double standards. At its centre is a strongly rendered character called Anna Antonia Ison Tolley.

I approached this collection of essays with some sense of anticipation, thinking ‘Do David Williamson, Beatrice Faust, Jamie Grant, Frank Moorhouse, Les Murray, and Christopher Pearson have something in common? If so, what?'