On the surface, this encyclopedic work offers a gloriously lyrical exploration of the sea. It could be part of a recent shoal of books about the more-than-human world, limning the wondrous and astonishing. In Deep Water: The world in the ocean, whales learn rhyme-like patterns to remember their songs, a ‘babel of strange, eerie sounds: skittering blips, long cries, whoops and basso moans’. A loggerhead turtle travels more than 37,000 kilometres to return to her birthplace. Sharks’ chemo-receptors prove acute enough to detect blood ‘in amounts as low as one part in a million’. Port Jackson sharks socialise with their peers, and evidence emerges that some fish species use tools.

Over the past two decades, novelists such as Alexis Wright, Kim Scott, and Ellen van Neerven have produced a body of work that not only unflinchingly explores the reality of Indigenous experience, but in many cases revisions the boundaries of the novel altogether, dissolving the strictures of conventional realism to give shape to Indigenous notions of temporality and relationship with Country.

Although Jennifer Egan had several novels under her belt by the end of the 2000s, perhaps most notably the slyly metafictional The Keep (2006), her 2010 novel, A Visit from the Goon Squad, took the concern with the inner workings of contemporary culture and consciousness that wound its way through those earlier books, and translated it into something startlingly new and resonant. A meditation on time, loss, and possibility filtered through music and the music industry, it was as striking for its formal playfulness as it was for its acuity and countercultural savvy. In the decade and a bit since Goon Squad, Egan has produced only one book, Manhattan Beach (2017), a historical novel set in the 1930s and 1940s. Despite its emotional richness and interest in the often-obscured wartime experiences of women and African-Americans, Manhattan Beach is an oddly subdued novel, its conventional surfaces at odds with the spiky energy that makes most of Egan’s fiction so exciting.

With its cast of freaks and hustlers, damaged souls, and self-proclaimed geniuses, the music world seems custom-made for novelists. Yet while some excellent novels catch more than a whiff of that sweaty, drug-fuelled space where the shared exultance of music becomes something transcendent – Roddy Doyle’s The Commitments (1987), Jennifer Egan’s A Visit From the Goon Squad (2010), Dana Spiotta’s dazzling and heartbreaking Stone Arabia (2011), and more recent entries like Taylor Jenkins Reid’s Daisy Jones and the Six (2019) and Australian author Kirsten Krauth’s excellent Almost a Mirror (2020) – the list of novels that take music seriously is surprisingly short.

James Bradley’s Ghost Species arrives at a time when fiction seems outpaced by the speed with which we humans are changing the planet. Alarmingly, such writerly speculation has been realised during Australia’s tragic summer, when the future finally bore down on us. And there are few writers of climate fiction – or ‘cli-fi’, the term coined by activist blogger Dan Bloom and popularised in a tweet by Margaret Atwood – who so delicately straddle the conceptual divide between present and future as Bradley.

Andrew McGahan’s final book, The Rich Man’s House, opens with an apology. ‘It’s a finished novel – I wouldn’t be letting it out into the world if it wasn’t – but I can’t deny that my abrupt decline in health has forced the publishers and I to hurry the rewriting and editing process extremely, and that this is not quite the book it would have been had cancer not intervened …