For many of us, the long Melbourne lockdowns of 2020 and 2021 were emotionally ambiguous affairs. Feelings ranged from anger over the deprival of basic freedoms and hope and despair over daily case numbers, to relief at being forced to stay at home, Zoom into work in our pyjamas and dispense with the daily commute. Some of us discovered our neighbourhoods for the first time or new interest we could cultivate, such as baking sourdough bread or gardening. That said, we probably don’t want to revisit the experience anytime soon. But we should, argues Chip Le Grand in his new book, because while Melbourne’s ‘status as the world’s most locked-down city should be cause for neither pride nor shame’, it should not be forgotten. Beginning with a vivid account of the ‘unlawful’ lockdown of housing commission towers in Melbourne’s inner north, Le Grand asks: ‘How did a city like Melbourne arrive at a place where we would strip people of all agency, and finally, their dignity, in the name of public health?’ This book is an account of how this happened.

Scott Morrison needn’t waste time writing a political memoir: the work of self-vindication has already been attempted on his behalf by Simon Benson and Geoff Chambers, both columnists at The Australian, in their now highly controversial book Plagued: Australia’s two years of hell – the inside story. Theirs is a largely heroic story about Morrison’s leadership, which ‘served the nation well’ amid a ‘most extreme period of adversity’.

Over the course of a long and distinguished public life, Gareth Evans has held fast to his conviction that as individuals aspire to personal decency and moral behaviour, the same should be replicated among nations. As a foreign minister and an author, and in his international organisations and academic roles, Evans has consistently advocated ‘good international citizenship’. Care for our common humanity he sees as both a moral imperative and a national interest.

This book will at times quite literally take your breath away. A deeply reported account of the fall of Afghanistan’s capital, August in Kabul tells the harrowing stories of those who escaped and those who were left behind in the maelstrom of those two weeks between the arrival of the Taliban on 15 August 2021 and the final US flight to depart – at one minute to midnight on 30 August. Compelling, vivid, and distressing all at once, it is a damning indictment of the Taliban’s wanton cruelty and of the domestic and foreign policy failures that allowed them to return. It is an impressive book-length début by one of Australia’s pre-eminent photojournalists.

This is the third book dedicated to the koala that I have reviewed in ABR in the past fourteen years. That level of attention says much about the place we hold in our hearts for this endearing marsupial. It also relates to the fascinating natural and social history of the koala, along with the wildlife management conundrums it throws up. The koala is probably the most widely recognised of Australia’s animal species. It is also probably the most studied of our roughly 380 mammalian species, so there is a strong knowledge foundation around which to build a good story.

Faithless is the third novel by West Australian writer Alice Nelson. Her first, The Lost Sky (2008), saw her named Sydney Morning Herald Best Young Australian Novelist, and her second, The Children’s House (2018), attracted widespread critical acclaim. All three explore themes of trauma, displacement, memory, and love. Nelson, many of whose family migrated here from Europe, once pondered in a 2019 interview with Brenda Walker at the Centre for Stories whether writers write to ‘heal some kind of loss’ and whether for her ‘it began with that sense of loss of homeland, loss of culture and country that ran through my family’.

In Chris Womersley’s novel Cairo (2013), a middle-aged man looks back as his seventeen-year-old self is caught up in the notorious theft of Pablo Picasso’s Weeping Woman from the National Gallery of Victoria by a group of bohemian artists. The heist-Bildungsroman combination is energetic, and decades of distance give Tom Button’s narration a lush, nostalgic quality. His sifted memories of 1986 fall gently, landing somewhere between regret and sustained desire.

Capital in the Twenty-First Century (2013), by French economist Thomas Piketty, is wholly unlike Sally Rooney’s Normal People (2018) bar one telling, if esoteric, similarity. For a period of time during the 2010s, being seen with the book mattered more than having read it. Ed Miliband, former leader of the British Labour Party, boasted that he had not progressed beyond the first chapter. WIRED reported that the five most highlighted passages on Kindle were in the book’s first twenty-six pages.

Sydney-based poet and editor Toby Fitch has spent much of the last decade traversing the field of radical French modernist poets, especially Arthur Rimbaud and Guillaume Apollinaire. That engagement ignited Fitch’s imagination. He began inverting, recombining, mistranslating, and mimicking their techniques in his own poetry. In his new collection, Sydney Spleen, he has made a sophisticated, fresh move that enhances his signature playfulness and tongue-in-cheek poetic antics.

The title character of Laura Elizabeth Woollett’s second novel, The Newcomer, is Paulina Novak, who has arrived on Fairfolk Island after leaving a finance career in Sydney. If she is wanting to make a new start, then she’s mistaken; Paulina’s life seems perpetually sullied by alcoholism, an eating disorder, and a tendency to fall for callous men. Acquaintances say that her head is ‘messy’. Paulina herself remarks: ‘My whole life’s a fuck-up.’