For almost half of the twentieth century, train passengers travelling into Sydney from the western suburbs and beyond could observe a large sign, painted in drop-shadow lettering, on the vast blank brick wall of an industrial building facing the tracks between Redfern and Central. It carried the message: TEAGUE’S HAMBURGER ROLLS – WHAT YOU EAT TODAY, WALKS AND TALKS TOMORROW.

John Kinsella’s new memoir, Fast, Loose Beginnings, may have been published by the august publishing house of Melbourne University Publishing, but it is nevertheless a garage-band of a book. It is, as its title signals, both fast and loose. Its rhythms aren’t always graceful, and its timbres aren’t always smooth. You can almost hear the hum of the amplifiers. The poet Jaya Savige, in his review of the book for the Sydney Morning Herald, commented on the book’s lack of polish.

‘Some of the ideas for this book were first tried out,’ writes its editor, David Carter, during the 2001 conference of the European Association for Studies of Australia at Lecce, in southern Italy. Displaying interest in Australia as a way to get one’s fare paid to leave the country is not the only reason why this bain-marie of a book has not found a reason to exist.

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.

The cover blurb to Peter Sutton’s book announces that: ‘Native title continues to be one of the most controversial political, legal and indeed moral issues in contemporary Australia.’ The moral issue, qualified by the adverb, is perhaps the one that most strongly engages the general reader, but it is not the central concern of these books that are mainly for the specialist reader. Morality, ‘indeed’, is something that the social scientist must keep at bay, in order to do the work that, as a native title expert, he or she is qualified to do. The expert, usually an anthropologist, provides evidence within the terms of the various native title acts, translating the knowledge of indigenous informants so that it can count in the courts.

The travails of Australian universities have increased in recent years, for well-aired reasons. These considerable difficulties followed unsettling and much criticised structural transformation initiated during the Dawkins era. They have been accompanied by pressures for international benchmarking of performance, the rapid growth of information technology, and an added impetus to form international networking alliances.

Important political issues sometimes cut across traditional party lines, making it harder for us to confront and debate them. The ‘children overboard’ affair, for example, raised important questions about the relationship between public servants and their ministers. Some of these questions were blurred in the subsequent debate, however, for a simple reason. Since the 1970s, governments from both sides of politics have had, in effect, a common policy of restricting the independence of the public service, especially of heads of departments, in the name of accountability and responsiveness. Ministers now have departmental secretaries who can be dismissed for no stronger reason than that they have lost the minister’s confidence. The powerful mandarins who, it used to be said, ruled Australia from the lunch tables of the Commonwealth Club in Canberra are a distant memory. Political influence now affects appointments down to middle managers in ways that those mandarins would have thought totally improper.­­­

‘He looks a bit like Marty Feldman with two good eyes.’ So wrote a journalist of Geoffrey Blainey in 1977. In The Fuss That Never Ended, a collection of essays on Blainey arising out of a Melbourne symposium, Bridget Griffen-Foley no less irreverently compares the historian to a character played by Steven Seagal in a movie she saw on television – not because he shares Seagal’s ‘fake tan, ponytail, high-pitched voice, rippling muscles, kickboxing prowess or lurid, technicolour knee-length leather coat’, but because of his ‘style of investigation’ as a young historian. Blainey, she suggests, was neither bookworm nor archive rat. He went into the field, spoke to real people, visited historical sites. His work even helped his first employer, the Mount Lyell Mining and Railway Company, to exploit long-forgotten mineral deposits. Since producing his history of that company in his early twenties, he has been Australia’s leading mining historian, and one of that industry’s staunchest defenders. It has probably been easier for most people to swallow Blainey’s historical and economic arguments in favour of mining than Hugh Morgan’s biblical ones.

Australia’s frontier legend is alive and well, as is John Flynn’s contribution to it in these two new books. In Australia’s Flying Doctors, Richard Woldendorp’s glorious photographs celebrate a medical service that reaches about eighty per cent of the vast Australian landmass. They are complemented by Roger McDonald’s economical personal vignettes of outback spirit.

The facing island in Jan Bassett’s memoir is Phillip Island, where her maternal grandparents had a dairy farm and where it seems she was most emotionally at home. Summer holidays there as a child in the 1960s, in the midst of her grandmother’s extended family and surrounded by familiar tokens of past decades reaching as far back as the early 1900s, undoubtedly sparked her lifelong commitment to Australian history. The title, taken from Peter Rose’s poem ‘Balnarring Beach’ (‘The facing island, a mortal blue, / beckons, intensifies, vanishes’), could hardly be more appropriate, compressing in a few words much of the emotional intensity of Bassett’s autobiographical last journey.