University of Queensland Press

It had to happen – a rush of books about the Olympics. But that doesn’t mean they’re all bad or that they won’t last now that the fuss is over. Celeste Walters’ The Last Race, her second book for young adults, should certainly be around for a while. The cover alone could sell the book and word of mouth should do the rest.

Judith Rodriguez deserves a guernsey for this book. It’s one of the best collections to appear in a long while. I think it’s more interesting than its companions in the UQP Selected/Collected series which is now three-all with Shapcott, Taylor and Rodriguez standing as our Living Treasures, and Dransfield, Buckmaster and Rankin among those freed from earthly care. Two chaps and one lady in each category, one observes. There must be logic in it? Poets don’t actually have to die before they get notices. But in the case of Buckmaster and Rankin it will push the reputation up a few notches. I know that’s callous, but you want the truth, don’t you?

If presence in literary journals, anthologies and at writers’ festivals may be taken as an indication of a poet’s importance, Anthony Lawrence has for some time been regarded as one of Australia’s foremost poets of the post-­’68 generation. He has published five books of poetry, all of which to my knowledge have been well received, and he has also been the recipient of many prizes, most recently the inaugural Gwen Harwood Memorial Prize and one of the Newcastle Poetry Prizes for 1997. With the publication of his New and Selected, Lawrence seems to have been canonised.

I am sitting at my home desk high up in the mountains overlooking the border ranges to New South Wales and then to the left, the strip of highrise, the Gold Coast, and the sea beyond. Hathorn and Lucashenko have both set their recent youth novels in an imaginary location not far from me. The sea and the hinterland is a territory I am beginning to know well and I have enjoyed exploring it a little further in my reading.

Two autobiographical works, both by women historians, are presented in the elegant small format which often says ‘gift book’ and may suggest more surface charm than substance. In fact, there are at least as many contrasts as resemblances between the two, and although the mood is quietly reflective, there is no easy nostalgia.

It was perhaps a fair return because in 1893, when the first 200 Australian settlers took up the land given to them by the Paraguayan Government to establish their Utopian paradise, they found one thousand Guarani Indians living on the land. They were ‘expelled’.

Were it not for the timing, it would be easy to speculate that this richly evocative collection of pieces about music was the inspiration for Jane Campion’s glorious film, The Piano. So many elements of the film – the dominant image of the beached piano, the powerful undertow of sexual passion, even the unexpected violence-are present in this book in the most uncanny similitude. I should not be surprised since Carmel Bird has already displayed her uneasy fascination with the film in her dazzling essay ‘Freedom of Speech’ (in Columbus’ Blindness and Other Essays) and in her introduction to Red Hot Notes she admits that the film was a catalyst for the idea of various writers exploring ‘the complex feelings that surround, and embed themselves in, the human response to music’.

Beverley Farmer is one of a group of women writers celebrated in Gillian Whitlock’s collection of excerpts from their work, Eight Voices of the Eighties. Its introduction begins with a remark attributed to Elizabeth Jolley where she calls the 1980s in Australia ‘a moment of glory for the woman writer’. Beverley Farmer’s first novel, Alone, was published in 1980, at the beginning of this period of renaissance and recognition of women’s writing as central to a national literary culture.

A striking black-and-white photograph on the front cover of Oodgeroo implacable and wise. And then the publisher’s blurb on the back cover