Writings on globalisation have so far been of three principal types. First came the fables of discovery: bold, confident and romantic. Next came the stories of resistance: variously decrying the consequences of the new order, or denying that there was anything particularly novel about this globalisation malarkey. More recently, however, we have entered the age of elaboration. These fresher writings extend the now familiar idea of globalisation onto new terrains. Just as concepts such as ‘space’, ‘postmodernism’ and ‘the body’ were once taken up by earnest specialists, so the idea of ‘globalisation’ is now used to revive tired topics and to attract jaded publishers. Bookshelves groan under the weight of fresh volumes promising to disclose the secrets of ‘globalisation and food/sport/religion/sex/politics etc.’. Thus the concept has itself been exported and capitalised on a remarkable, networked industry. Some of this work is opportunistic and shallow. Fortunately, however, Anthony Elliott and Charles Lemert’s entry to the field (which might be retitled ‘Globalisation and Individualism and Emotions’) attempts to say something new, serious and important.

In this tongue-in-cheek version of world history, Jesus Christ was originally baby Warren, until a celebrity representative came knocking at the manger door to help spin Mary’s unlikely tale of immaculate conception. Jonathan Biggins has examined world events from an Australian perspective, from the dawn of time, when God beat out Satan as chairgod in a narrow recount, to the reign of the pioneering environmentalist Robin Hood, to a rather subdued meeting of the Millenium Doomsday Cult. Through the imposition of modern bureaucracy onto historical events, As It Were lambastes the red tape and political correctness that stifle modern society. We discover that the works of Dickens do not translate well to adaptation by magical lantern, since there are not enough prospects for sequels; Monet is blighted by the cost of absinthe, as the tax auditor refuses to allow it as a tool of trade, and the first run of Kitty Hawk is delayed while the Wright Brothers apply to occupy limited airspace.

Bernard Williams began his philosophical life as the enfant terrible of mainstream English philosophy. In 2003 he died its most eminent contemporary figure. Williams was White’s Professor of Moral Philosophy at Oxford from 1990 to 1996, and a professor at Berkeley from 1988 until his death. Both these books are collections of essays, nearly all published previously, but many not easily accessible. In addition to three general essays about classical Greek philosophy, The Sense of the Past has essays on Socrates, Plato and Aristotle; and then on Descartes, Hume, Henry Sidgwick, Nietzsche, R.G. Collingwood, and Wittgenstein. The essays in Philosophy as a Humanistic Discipline are collected under the headings of ‘Metaphysics and Epistemology’, ‘Ethics’, and ‘The Scope and Limits of Philosophy’. In both volumes, the essays range across Williams’s philosophical life, affording a picture both of his recurring preoccupations and of the evolution of his concerns.

The publication of a third major book on Howard Arkley begs the question: does he deserve such attention while other Australian artists of his generation and significance remain invisible on bookshop and library shelves? Has Arkley’s untimely and sensationalised death in 1999 been the main driver behind his broad appeal, or is he an artist who warrants further critical investigation? John Gregory’s impressive book, Carnival in Suburbia: The Art of Howard Arkley, proves unquestionably that the latter is the case, and tackles some of the myths that have been perpetuated, especially since the artist’s death.

This book is an account of politics in Sydney during the 1840s and 1850s. Occasionally, the story reaches into the depths of urban life, with descriptions of what Peter Cochrane calls ‘the city’s thick web of political conversation’. But Cochrane is mainly interested in the political leadership, and he has a small number of once celebrated men – William Charles Wentworth, Robert Lowe, Henry Parkes, Charles Cowper and a few others – carrying most of the action.