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When Malcom Fraser was prime minister, he was generally thought of as a hard and ruthless man of the right. In part this was because of the role he played in the removal of Gough Whitlam; in part because of his fiscal prudence; in part because of his orthodox Cold War foreign policy. Following his defeat in 1983, an alternative picture of Fraser gradually emerged. Under Labor, Australia embarked upon a program of economic rationalist reform. For his failure to anticipate this programme – to be wise or, as some would say, unwise before the event – Fraser was caricatured, especially by his former political friends, as a do-nothing prime minister. His time in office was ridiculed as Seven Wasted Years. After 1996 Fraser became one of the most influential critics of John Howard’s new brand of populist conservatism. The portrait of him was once more redrawn. The left saw him as a principled humanitarian; the right as an incorrigible Wet.

Australia’s frontier legend is alive and well, as is John Flynn’s contribution to it in these two new books. In Australia’s Flying Doctors, Richard Woldendorp’s glorious photographs celebrate a medical service that reaches about eighty per cent of the vast Australian landmass. They are complemented by Roger McDonald’s economical personal vignettes of outback spirit.

Bob Ellis is the quintessential Labour groupie, and Goodbye Babylon the latest instalment in the saga of his love affair with the ALP, which began with The Things We Did Last Summer, a slim and evocative volume, published twenty years ago. By contrast, Goodbye Babylon is a fat book; rather like Ellis himself, it is sprawling, dishevelled, undisciplined but likeable, witty, and gregarious. His prose, though prone to excess, can be rich and compelling.

John Hirst faced a challenging task when he set out to write Australia’s Democracy: A short history. In a single monograph, he has traced the story of political rights and practices of citizenship, assessed within a context of social change. Not only does such writing place considerable demands on a historian’s range, but any prominent historian who attempts a short history attracts the sharp attention of all stakeholders. In Hirst’s case, his position as chair of the Commonwealth Government’s Civics Education Group has contributed further to his high profile in recent discussion on the need for citizenship training. Australia’s Democracy was funded by the Department of Education, Science and Training, and made available to schools for the ‘Discovering Democracy’ programme. Few historians write while carrying so much responsibility towards their prospective readership.

Before the age of thirty, Randolph Stow had published five novels and a prize-winning collection of poetry. In Australia, only Kenneth Mackenzie, another Sandgroper, had made a similar youthful impact. Mackenzie’s first book, The Young Desire It, was published in 1937, though I believe drafted some time before that. Stow’s The Haunted Land (1956) was written when he was only seventeen. When another precocious young Western Australian, Tim Winton, published his first novel, he was painfully conscious of these precursors. This was crucial for Winton, because both Mackenzie and Stow were to have troubled creative lives: Mackenzie died relatively young, his later novels disadvantaged by the youthful brilliance of his first. Randolph Stow, after his three initial successes, has published only five further novels, two collections of poems and a book for children. It has been a career with long silences.

It seems to be only a couple of years ago that my students declared gender and race to be the ‘hot’ topics in culture. Now, I confidently predict, they will relegate gender (still acknowledging its importance) and reformulate the second term by adding a third: race and its intersection with religion, in its broadest definition.

Halfway through Matthew Flinders’ Cat, the protagonist admits that, when writing, he finds it ‘almost impossible to leave out what others might think of as superfluous detail. It was, he knew, self-indulgence.’ Is this a moment of self-directed irony on Bryce Courtenay’s part, or a case of the pot calling the kettle black? This novel brims with ‘superfluous detail’, and there is little attempt to curb the flow of information.

Set beyond the pale of white settlement, Sarah Hay’s Skins is a compelling and often violent story of an Englishwoman shipwrecked off the southern coast of Western Australia in 1835. Winner of the 2002 Australian/Vogel Literary Award, it is a powerful evocation of a time and place rarely featured in Australian literary fiction.

It is the fashion, when discussing Patricia Carlon’s thrillers, to claim that she has been shamefully ignored in her home country. So what? If Miss Carlon (1927–2002) had been a genius of the running track or swimming pool and couldn’t get a gig in the Australian Olympic team, that would be a scandal. But she was a writer. She was ignored. What else is new? What we really want to know is whether her thrillers are worth all the fuss. Do they deserve to be reissued after being out of print for many years?