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In March 1944, George Szego, a sixteen-year-old student in a provincial town, watched apprehensively as German troops replaced its Hungarian army posts. The massive deportations that ended in the near annihilation of Hungarian Jewry in the extermination camps and slave gangs of Eastern Europe were not long in coming. Szego had been christened a Roman Catholic. His Jewish parents converted in the 1920s at the height of anti-Semitic sentiment and prohibitions, mainly by reason of prudence and ambition, but also because of the genuine admiration that gifted and educated Jews often conceived for the great cultures that have – if only grudgingly – harboured them, an admiration that found uncustomary expression in Szego senior’s pride in his military exploits and his desire to be a ‘Christian gentleman’.

In February 1974, Robert Rose, a twenty-two-year-old Australian Rules footballer and Victorian state cricketer, was involved in a car accident that left him quadriplegic for the remaining twenty-five years of his life. The tragedy received extensive press coverage and struck a chord with many in and beyond the Melbourne sporting community ...

Those readers who were sympathetic to the arguments in The Empire Writes Back (1989) by Bill Ashcroft et al., will experience in Post-Colonial Transformation the pleasures of engaging with a reinvigorated friend. For others, like this reviewer, who found this influential earlier volume both theoretically and politically troublesome, Ashcroft’s new book will provoke familiar objections.

In Neil Armfield’s recent production of Dallas Winmar’s play Aliwa – about the struggle of the Davis family in Western Australia in the 1930s to avoid becoming members of the stolen generations – the character of Aunty Dot Collard, Jack Davis’s sister, was played brilliantly by Deborah Mailman. Aunty Dot herself, flown over to Sydney’s Belvoir Street Theatre, introduced the show and then sat on the side of the stage on an old red sofa smiling benignly, and interfering occasionally, as she watched her history being performed. But which was the ‘real’ Aunty Dot was something the show left up to the audience to decide.

Clive James needs no introduction, though he asked Julian Barnes to provide one for Reliable Essays, a selection from three decades of James’s literary journalism made by his publisher, Peter Straus. The Kid from Kogarah is, as The New Yorker once famously observed, ‘a brilliant bunch of guys’ ...

In the August 2001 issue of Meanjin, M.T.C. Cronin writes of poetry: ‘The poems are not as useful as ribs but like them do protect life and when removed from the body grow certain murmurings of the mind.’ No matter how chaotic or runic her prose pronouncements, Cronin’s poems are quirky and original at best, diffuse and repetitive at worst. Cronin continues to ‘just go on your nerve’, as Frank O’Hara wrote. There is the same mock candour as well as the same, often-disjointed tones as in her first book, Zoetrope (1995): ‘I do not have the time / To transform my life into a vision.’ Bestseller, Cronin’s fourth book, does signal changing preoccupations, as its title suggests. More specifically, it centres on the life of the Poet. Although Cronin’s images can lead into perky unexpected sequences, this book would have been stronger if some poems had been omitted, especially some of the shorter ones, such as ‘Cheers’, ‘Searching’ or ‘Then, Then, Then’. Some poems fizzle out in less interesting directions than those they seem to promise; they pick garrulously but semi-consciously at random images – ‘the trees wobbling like boxers / with their ungrouped leaves / moving like sand through / my outstretched eyes’.

How to shape the fiction of one’s life? There is something to be said for the no-nonsense narrative thrust of Errol Flynn in kicking off My Wicked, Wicked Ways, one of the most readable and also self-consciously ‘literary’ of all showbiz autobiographies. ‘Detesting’ books that begin after the fashion of ‘there was joy and happiness in the quaint Tasmanian home of Professor Flynn when the first bellowings of lusty little Errol were heard’, the actor-autobiographer gets straight to what he archly calls ‘the meat of the matter’: his tumultuous film career and the associated carnal exploits that constituted his notoriety.