This book is about the early stages of the establishment and evolution of native local government councils in Papua New Guinea. The author, David Fenbury, was in charge of the first phase of this undertaking and the objective of his book was to record the early sequence of events. He begins with an overview of the local government system in 1975 in a state of decay even while it was being extended to the few remaining areas that it had not reached by the time of independence.

On page eleven of this book, Australians are called an engagingly innocent people ‘splendidly unthinking of anything but the simplicities of affluent living.’ On page twelve, they are called ‘lazy and uncreative’. On page 311, the author writes: ‘Yet in spite of a widespread belief (mainly self-generated) that we are a nation of yahoos, we have as much capacity for some unique kind of greatness as the people of any other race and nation.’

Anyone interested in quickly assessing the scope, direction and lacunae of urban history in Australia would be well advised to read this attractively priced and presented anthology. Although only two of the ten contributions have been specially commissioned, the rest are recent pieces, mostly from out-of-print, expensive or turgid larger works. These are two general essays, an article on each of the capitals (with the exception of Perth), and three specialised pieces on aspects of city growth (sub-division of Paddington 1875-90, essential services and Melbourne in the 1880s, and East Perth 1884-1904).

Normally, Australia’s Writers could be expected to attract the special attention of critics. However, by sensible use of his preface and the quality of his book’s contents, Graeme Kinross Smith has minimised the possibility of adverse comment. Carefully, he sets out the guidelines adopted for the fifty­four essays that range from two to ten pages each, starting with Captain Arthur Phillip and closing with Rosemary Dobson. Stressing ‘the distinctive and fascinating’ tradition of Australian literature and the book’s purpose in giving an insight into that tradition, Graeme Kinross Smith writes:

The phenomenon of the Fremantle Arts Centre Press in Western Australia is one of the instructive publishing success stories of the past decade.

It is a frankly regional venture, and by concentrating on the local market and the immediate writing scene it has built up a secure base of interest – and sales. Out of a real or imagined (but widespread) sense of slight, or exclusion, has emerged the one thing most likely to resolve that carping insecurity: direct action aimed at self-sufficiency. It is important to recognise this motivating force. But it is important, also, to look at the consequences of that initial do-it-yourself bravado.

The greatest area of growth in the writing profession is among the group that used to be scurrilously called ‘hobby writers’.

A recent study of British authors reveals that fifty-nine per cent will write only one book in their writing careers.

Using this figure and extrapolating from the 3500 applicants for Public Lending Right here, there are at least 2100, maybe 3000, people in Australia who have written one book and either have run out of the spirit to write another, or maybe have encountered such frustrations with contracts, editors, and distributors that it is not worth it to write another.

Australia has a tradition of brilliant female writers. With this book, her first novel, Sally Morrison has joined them.

It’s a knockout.

If she had used a simple narrative form, I’m sure she’d have made as much money as the lady who wrote The Thorn Birds. Luckily for us, she didn’t. She fashioned a work of art instead.

The characters are marvellous, they are so real, you can smell them, I’d say that if you don’t find yourself, or at least part of yourself, among them, you don’t exist. The story, told in a series of mental flashes from the characters (and some of them are flashes indeed) is of the last three days of the last term in a country high school.