Of all the campaigns that took place in the western half of Australian New Guinea during World War II, Shaggy Ridge is among the most neglected. It does not deserve this status. There used to be a graphic, brooding diorama depicting the massiveness of the ridge in the Australian War Memorial in Canberra; unfortunately, it has been removed and replaced by other exhibits.

In his spirited foreword, well-known football writer Martin Flanagan notes that ‘More Than a Game is in the best traditions of Australian football writing. It is unauthorised, a necessary virtue given the blurring of the Australian media with the corporate interests behind football.’ Flanagan also knows that writing about football in Australia has become a dignified and scholarly pursuit. Still, football as representing the verities of life is a powerful and relatively new symbol. As the editors and contributors amply demonstrate, Australian Rules history has been measured out in tribal rivalries and violence. These two themes, along with many contemporary evaluations, are explored in detail.

Manning Clark rescued Australian history from blandness and predictability by making Australia a cockpit in which the great faiths of Europe continued their battle, with results that were distinctive. He concentrated on the great characters who were bearers of one of the faiths: Protestantism, Catholicism, or the Enlightenment.

I remember trying a few years ago to communicate to a younger friend something of the way I remember my childhood in Adelaide in the 1970s. It was a world in which an older Australia still lingered, a quiet, suburban world where men caught the tram to work at 8.15a.m. and came home at five, where the banks closed at four p.m., and where World War II veterans and their wives lived around us. In 2004 that world – somnolent, conservative, oddly outside time – seems almost unimaginable; even then, it was almost gone. Instead, it inhabits that hinterland between memory and nostalgia, lingering for me in the textures of the things and places which gave it shape, textures that are hopelessly entangled in the possibilities, pleasures and disappointments of childhood.

There is often a speculative dimension to Rodney Hall’s fiction. Throughout his long career, he has tended to build his novels around alternative histories or unusual possibilities. Past works have imagined scenarios as diverse as Adolf Hitler arriving on the south coast of New South Wales and (where does he get his ideas?) Australia becoming a republic. The Last Love Story is in some respects unrepresentative of Hall’s vivid and expansive body of work. Compared to some of his earlier novels, it is concise and the natural flamboyance of his writing seems a little subdued. The novel does, however, develop from a typically interesting ‘what if?’

The tempting cover leads to a feast of 164 colour pictures, which you will fall upon with delight. Despite the title, almost all are of Melbourne and Sydney, places most Australians know well enough to enjoy pleased shocks of recognition. There are two highly specific Perth roofscapes, but a futurist speeding tram in Adelaide could be anywhere, and so could the industry at Yallourn, or sexual and racial tension at Townsville in 1942. Even if you come from the bush, you will know the city markets, cathedrals, law courts, showgrounds, Circular Quay and Harbour Bridge, Flinders Street Station and Collins Street trams, Town Hall concerts, Tivoli showgirls, Manly, St Kilda, racy Kings Cross lats, a frisson of ‘slums’. The author says he chose the works of art solely for their subject matter, yet he certainly appreciates aesthetic force. It’s a lively anthology of transport and other social nodes, parklands, beaches, building construction, shopping, entertainment. It makes the familiar look unexpectedly interesting.

Philip Salom’s poetry has won many awards since his first collection, The Silent Piano, was published in 1980. His poems range widely and have often included fantastical elements, most notably in Sky Poems (1987). The opening of Sky Poems enjoins the reader to ‘Throw out the world’s laws’, promising: ‘Anything you wish, possibly more!’ Such poetry seems to proceed from the assumption that fiction can, after all, be stranger than truth. And, despite its variousness, Salom’s work often returns to certain kinds of strangeness.

His second book, The Projectionist (1983), is a kind of proto-novel constructed as a collection of poetry. It is impossible to summarise this book neatly, but it foregrounds the sensibility of a character called Mr Benchley, a retired film projectionist whose ‘reality’ is partly filmic. In this work, Salom investigates the elusiveness of human experience and reflects on how experience may be represented suggestively through audiovisual technology. He writes in one poem, ‘This playback of life’s feeding / every thread of the rough cocoon’ – the ‘cocoon’, among other things, being the self-reflexive activity of a lonely life.

Playback (1991) became the title of Salom’s first novel, recently reissued. The main protagonist is a male oral historian and folklorist living as a visitor in a country town. At the core of Playback is a mystery centred on a possible, and unsolved, crime, along with the erotic charge of an adulterous relationship between the oral historian and an artist. The novel progresses by counterpointing the past – captured in a growing, if precarious, store of taped oral histories – with the historian’s evolving and increasingly destabilised present. The dynamic is fairly merciless. Various forms of disintegration occur; the novel’s conclusion answers some key questions but leaves others unresolved. In both The Projectionist and Playback, people are shown never to be free of their pasts, even though they remember their lives poorly. They are depicted as often creating themselves and their fantasies on the ground of their own forgetting.