Both of the OUP First Books have been designed with the early reader in mind. Clear colourful pictures, large print and unambiguous headings make these books a pleasure to read. Information is set out in an orderly way, from the general to the specific. There is scope for enthusiasts to skip to their particular interest, but, for the general reader, the narrative as a whole is satisfying. Barbara Taylor’s First Book of Dinosaurs gives the basic facts that the six- or seven-year-old wants to know: what kind of animals were they, and how do we know they existed? A history is followed by general descriptions of behaviours and physical types, then double-spreads on featured groups such as the well-known T.rex and stegosaurus, as well as dromaeosaurs and kronosaurus. Extra information is contained in sidebars. The book concludes with speculation about what caused the dinosaurs to become extinct and with a look at their modern successors. There is a short dinosaur quiz (with specific instructions on how to read the questions for clues, and how to use the index and table of contents to find the answers). Some simple science experiments are suggested, such as making your own fossils with plaster of Paris and with shells. As well as the obligatory glossary and index, a page-long guide to pronunciation is appended: this will help many a bemused parent.

Imaginative grandfathers and European cityscapes dominate in these books, with all the protagonists having creative ways of seeing, just like their creators. When Suzy, in Grandpa’s Gate, falls down the thirteen steps from her house, what is needed is a gate for the top. So Grandpa welds a special one, with an owl, a moon and stars – ‘all sorts of extraordinary bits of his own’. It’s practical, but interesting at the same time. Then Suzy and her family move away and don’t see Grandpa for years, until, lonely and confused, he comes to live with them. But Suzy has an idea: in the garage is her old gate. Together, she and Grandpa paint, rehang and weld more birds to go with it.

Some reviewers like to stamp their own character on a review in its opening sentences. I prefer, however, to share with you some of Alan Frost’s words:

When I was a boy, living in a village set against a beach in Far North Queensland, I was struck by two kinds of trees. Ringing the beach at intervals were great ‘beach-nut’ trees (Calophyllum inophyllum). As early photographs of the beach do not show them, these trees must have been planted by European settlers. In my time, when they were perhaps seventy or eighty years old, they were up to fifty feet high, and they spread fifty feet in diameter … And scattered about the littoral were tall hoop and kauri pines … One behind our house may have been more than one hundred feet tall. It was said that this kauri pine was a beacon for ships at sea.

Something like a double helix of dialectical thinking winds its graceful way through these ‘eight lessons’. Ideas and theories about the nature of human (and other) life and how to live it, about the workings and the relative merits of logic, reason, belief, and faith, are sketched, rehearsed, debated, and set in ...

Towards the end of his informative introduction, Robert Manne, the editor of Whitewash: On Keith Windschuttle’s fabrication of Aboriginal history, outlines the collective intention of the book’s nineteen contributors. He refers to Windschuttle’s The Fabrication of Aboriginal History (2002), a revisionist text dealing with early colonial history and violence in nineteenth-century Tasmania, as ‘so ignorant, so polemical and so pitiless a book’ ... 

There were seven of them, as in a folk tale. The family was too poor to put shoes on their feet. They lived in a village called New. Hard though life was, they knew it would be worse without Kindly Leader, who was carrying the land into prosperity and joy. At present, however, the seven sons had little to eat.

Australian football has lost its magic, a unique quality existing in the 1950s, and even as late as the 1970s. It derived from the fixed positions that players adopted and from their physical diversity. In their competing forms, they became metaphysical constructs – good versus evil, beauty versus ugliness, benign innocence versus malevolent experience – constructs limited only by the human imagination ...

You have to sympathise with Nikki Gemmell. When she described her sense of liberation on deciding to publish The Bride Stripped Bare anonymously, she seemed to have in mind only a desire not to offend people close to her. She would also have liberated herself from the literary celebrity machine. But, once the game was up, she got even more of it than she would otherwise have done. It doesn’t seem to have bothered her too much. The profile in The Age and the appearance on Andrew Denton’s television show didn’t suggest that she was determined to salvage what she could from her original plan to stay invisible. Some of my more cynical friends have suggested that that was what she had in mind all along. But the book is written with a candour that confirms her avowals.