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Australia’s major galleries, with the odd exception, have generally conducted their exhibition programs to show that fanfare for blockbusters is reserved for exhibitions that come from somewhere other than Australia. The die was cast long ago. In the past thirty years, temporary exhibitions have increasingly consumed the lives of public galleries – and blockbusters represent the embodiment of this phenomenon.

The Bible is not a book. Its title comes from the Greek biblia, books; it is a collection, or library. That the Bible has become a single book, or even the book for some, is a remarkable and sometimes problematic accident, and the premise for this engaging tour through one part of its history.

In 1950 a friend presented the young Welsh poet T.H. Jones with a hand-made, leather-bound octavo notebook, the ‘Black Book’ into which he subsequently copied every completed poem he wished to preserve until shortly before his untimely death in 1965 at the age of forty-three. The Collected Poems of T. Harri Jones (1977) included a brief selection of unpublished poems from this notebook, as well as the poems from Jones’s four published volumes. Now, some thirty years later, we have a collection of all the poems from the notebook, as well as those from earlier preserved manuscripts, some only recently located. It also includes a handful of poems completed between the filling of the Black Book in 1964 and the poet’s death, and some additional poems that the poet considered ‘too “occasional” for preservation’, thus making it the first complete gathering of his large and impressive poetic oeuvre. The editors include a biographical introduction and extensive notes dating the poems, identifying first publications, and explaining literary and personal references.

As Israel began its assault on Gaza last year, the Israeli defence minister, Ehud Barak, launched the offensive by declaring: ‘There is a time for calm and a time for fighting.’ His declaration alluded to Ecclesiastes, but overturned the order of the verse. Not so long ago, however, in an era that has since been largely misrepresented by its detractors, there was a time for peace; a time when, at a deal-signing ceremony between Israel and the Palestinians in Washington in 1993, the Israeli prime minister, Yitzhak Rabin, used the same phrase from Ecclesiastes but was able to leave it intact.

The title of this memoir and the cover picture, showing a pretty girl with brown skin and hair and dark eyes walking along an urban street hand-in-hand with a neatly dressed white woman, captures the theme of uncertain identity. The story begins in mid-twentieth-century Australia, when, under the government’s assimilation policy, children of Aboriginal and Torres Strait Islander descent were still being removed from their families. Lorraine McGee-Sippel was not stolen from her family by the authorities, but was surrendered for adoption by her eighteen-year-old mother.

‘The tension between religion and intellectual knowledge definitely comes to the fore,’ says Max Weber, ‘wherever rational empirical knowledge has consistently worked through to the disenchantment of the world and its transformation into a causal mechanism.’ Darwinism, or so one version of the history of modern culture goes, is the culmination of the process of disenchantment, the last step in the transformation of the world into a causal mechanism.

A book with a title such as this one necessarily invites a question: is it going to be a theological work using examples from the stated body of fiction, or an exercise in literary criticism confined mainly to religious themes, just as other critics might focus their discussion on political or psychological issues? Most authors would of course protest against this crude ‘either/or’ proposition and assert that the strictly literary aspects of a novel, as distinct perhaps from non-fiction, are inseparable from any intellectual issues it might raise. Neither approach should play Christ to the other’s St Christopher.

A popular myth holds that all librarians are inspired by a love of books. As with all such stereotypes, it doesn’t take long working in the profession to realise that it is only partly true, only slightly more so than the cardigan, bun and glasses with which we are usually endowed in the popular imagination. Librarians, in fact, whatever their initial sentiments about books, commonly become blasé about the volumes they are responsible for and can be pitiless in weeding out the less attractive, useful and popular books from their collections. David Pearson’s new book sets out to make librarians and others who have books in their care think again about their value as cultural artefacts and pieces of historical evidence, especially at this moment in history when they are beginning to lose their primary role as repositories of the world’s knowledge.

When Petrus Borel led Victor Hugo’s private ‘claque’ into the theatre of the Comédie-Française in 1830 for the opening performance of Hugo’s play Hernani, he and the others of the Romantic ‘push’ fully intended their actions to precipitate the death of classicism in French theatre. They succeeded. Had Peter Porter been in the audience, one wonders where he would have positioned himself between the Romantic shock troops (in part driven by the compulsions of the Petit Cénacle) and the classicist critics who panned the play and all it stood for in the press the next day. The performance and the attendant conflicts became known as ‘La Bataille D’Hernani’.

If you felt there was a touch of hubris in Baz Luhrmann’s naming his movie Australia, you may think the opening sentence of Christopher Bigsby’s biography of Arthur Miller even more startling in its pretensions: ‘This is the story of a writer, but it is also the story of America.’ Not, observe, ‘a story’, but ‘the story’. This grandiose proposition helps to account for nearly 700 dense, uncompromising pages – and they only take in the first half of Miller’s long life (1915–2005).