... Be tough
And dream. It's your only chance.
Imagination precedes fact.

Born in Toowoomba in 1924 and serving in the RAAF in the Second World War, David Rowbotham has produced nine books of poems, four of prose (stories, novel, monograph), worked collaboratively on an autobiography while employed at the Brisbane Courier Mail for thirty­two years, partly as the arts editor and partly as founding literary editor.

His extract from the 1940 New Zealand Police Gazette reproduced on the back cover of this splendidly designed biography acts as a striking metaphor for the life and times of Noel Counihan, artist and revolutionary.

The celebrated journalist Peter Arnett’s new autobiography Live from the Battlefield partly solves one mystery for me. For the last eighteen months, whenever I discussed Arnett and his forthcoming memoirs with my husband (who was trying to research Arnett’s relationship with news network CNN after the Gulf War), I found myself constantly and inexplicably analysing Thackeray’s Vanity Fair and the characterisation of the ambitious, fragile Becky Sharp.

The image of the woman imprisoned in a tower is recurrent in Dorothy Hewett’s work. In the early poem, ‘Grave Fairytale’, Hewett refashions the figure of Rapunzel to signify the woman poet whose writing depends on isolation and the suppression of her sexuality.

Ever since the publication of Margaret Atwood’s first novels, The Edible Woman and Surfacing, she has been seized upon as a writer who articulated the predicament of being female in contemporary western societies. Her Canadian origins were no barrier for many Australian women, who read her as though she spoke with their voice. Atwood was like a ‘sister’ who didn’t fail them – someone who’d been there and could help light the way.

Each of the three parts that make up Thea Astley’s new novel, Coda, is prefaced by a newspaper report, real or imaginary, detailing cases of ‘granny-dumping’, the ruthless abandonment of old, frail, and disoriented people by their unidentified children. This sets the scene for a reflection on old age and the rejection of those whose physical and mental capacities no longer meet the stringent requirements of the standard economically viable unit of modem civilisation. The manifest duty of such objects is to be as discreet as possible, providing minimal inconvenience to others (especially their adult children) until they can fade into oblivion.