There was excitement. David Marr, newly appointed editor of the National Times at just thirty-three, had agreed to speak with politics students on campus. Volunteers were dispatched to buy the obligatory felafel and cheese, plastic cups, and cask wine, and at 3 pm the famous journalist arrived to address ...

As chief political correspondent for the ABC’s 7.30, Laura Tingle was a ringside commentator of the latest knockout bout of leadership pugilism in Canberra. Calling the crazed week-long events in the Liberal Party that climaxed in Malcolm Turnbull’s removal from office in August ...

When W.H. Auden took the cue for his poem ‘Musée des Beaux Arts’ from Brueghel’s Fall of Icarus, he did not presume the reader’s knowledge of the iconography of the painting but rather sprang open its central and universal theme, which touches all our lives: how ‘dreadful martyrdom must run its course’. It is easy to think our lurid times are perhaps ...

My first reaction on picking up Les Murray’s new collection, Waiting for the Past, was to note how handsomely produced it is ...

A prefatory note to this striking novel tells us that it is Richard Kline’s memoir of ‘a strange event that intervened in my life at the age of forty-two’. The following ‘short history’ interleaves sections of first- and third-person narration, shuffling the pieces of a reflective Bildungsroman that charts Richard’s emergence from a vague but oppressive childhood ‘apprehension of lack’ into something even more elusive.

‘Lending printed eloquence to a poem’ comes from ‘Alas’, Chris Wallace-Crabbe’s elegiac tribute to Seamus Heaney. There is eloquence aplenty in this fine collection of more than a hundred and twenty poems edited by poet Geoff Page, someone who understands that eloquence speaks in many tones and in various formal structures. This variety is generously represented here, even if, as a result of Page’s allegiance to ‘a broad church’ of Australian poetry and his wish to represent its full range of tendencies in a way that will speak to a congregation of ‘average reader[s]’, the collection treads lightly in the realm of experimental or avant-garde poetry.

Guy Rundle ends his engrossing account of Clive Palmer with a disclaimer: ‘Knowing Clive, he will contradict everything asserted in this essay in the two weeks between its going to press and hitting the bookstands.’ Since the publication of this essay, Palmer has not contradicted the assertions of the essay, but his party has been challenged. Senator Jacqui Lambie has resigned from the Palmer United Party. At the November Victorian election, preference deals led to the election of micro parties to the Upper House, without a Palmer United Party member.

In the current fad for omnibus histories of absolutely everything, designed to replace ancient metaphysics, perhaps, or answer some marketing brainwave, no one has succeeded in quite the way Christine Kenneally has. She approaches her task with a very specific enquiry: what is the interplay between genetics and human history? Searching for an answer, she uncovers worlds within worlds.