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As Meena Blesing explained in an interview on Sixty Minutes, writing an autobiographical account of her life during the Combe-Ivanov Royal Commission was something she needed to do. Writing the book allowed her to discuss the events of 1983 and their consequences in a way that gave expression to and ordered her anger. For the reader, Blesing’s very personal story provides a perspective on the Combe Affair which has not been canvassed in the other published material: media reports, the Hope Report, David Marr’s The Ivanov Trail. That the book concludes on a note of somewhat ironic hope is but one indication of the emotional complexity of the material story, she covers. For, in telling her own story, Blesing also presents us with what can be read as a rare discussion of the impact on private, family life of state actions and policies.

More than in any other way, Australian humour has evolved and found its greatest expression not through the nation’s writers, entertainers, or film makers, but by the means of cartoonists drawing for the Australian press. This humour had two significant periods of development - the first beginning with the founding of the Bulletin a little over a century ago when the editors of this illustrated publication, notably J.F. Archibald, encouraged and fostered native talent, especially those artists of the day with comic graphic skills.

Occasionally, there are books of literary criticism which stay in the mind’s eye, so to speak; they endure beyond the point of short-term recall: the central argument, the general impress of thought, the singular, illuminating ideas and catchments of insight. As with Dorothy Green’s massive and intense scrutiny of Henry Handel Richardson, these books have the authority of a kind of passionate clarity, even when they seem paradoxical, or odd.

I’ve always wanted to begin by declaring an interest. Roslyn Russell’s Literary Links gives me at last the opportunity I’ve been waiting for: so, I declare an interest – and only some very stern editing will prevent me from saying why!

I write this review the day after the Fifth Test. Australia has finally won one. I personally wouldn’t give two squirts of goat shit for the Australian selectors but this time they can tell us what to do with our cricket bats. Peter Taylor has taken six for and two for, batted with determination, and won the man of the match. (A shocking decision, by the way. It was Jones, then daylight, then Taylor and Emburey, and I don’t like Victorian batsmen and Poms who played in South Africa.) Twelfth man for Australia was Greg Matthews, who bowls off-spin and bats with determination. Like Taylor, whom Matthews would no doubt call ‘the man’ at the moment. Does this mean Matthews is on the way out, and that Roland Fishman’s mid-career biography, Greg Matthews: The Spirit of Modern Cricket, is one of the sillier Penguins, a book destined to become as popular as Andrew Jones’s autobiography? (Remember Andrew Jones, the oncer in the federal parliament in the mid-sixties? The relevant tome used to be on sale at Mary Martin’s at ten cents, two copies five cents …)

Like those of Tom and Viv, and Scott and Zelda, the life story of George Johnston and Charmian Clift is a high drama of love, sickness, loyalty, passion, talent and suffering, with a tragic intensity not often found in Australian life. The lives of artists are now often turned into works of art themselves. Garry Kinnane’s biography and the ABC radio documentary based on it make George and Charmian more fascinating than their books, with the possible exception of My Brother Jack.

When Four Corners began on ABC television in 1961 there was little to break what Humphrey McQueen, following Manning Clark, has called the ‘Great Australian Silence’. True, the Sydney fortnightly magazine Nation had started in 1958; but there was little else to offer a toughminded or oppositional outlook on the orthodoxies and consensus that was Australia. So Four Corners was badly needed. In turn it and Nation were joined by others: Oz magazine and the televised Mavis Bramston Show in 1963; The Australian in 1964 and This Day Tonight.

In the early seventies, the rock band Skyhooks asked ‘Whatever happened to the revolution?’ They answered themselves in the next line: ‘We all got stoned and it drifted away.’

Given the appetite of the literary industry, it’s hard to believe that a good thing can go unnoticed for long. But it happens. Occasionally the manuscript of an unheard-of author, or the out-of-print book of a forgotten one, finds its way into the hands of an influential member of the literary establishment – and from there to the rest of us. It’s a big event. Not only does it lend credibility to the old Shakespeare’s sister story (or one of its variants), but it indicates that, even in this over-determined world, it is still possible to be surprised.

With her first novel (published in 1985 and now available in paperback), publisher and writer Stephanie Dowrick has created a long and uneven though often absorbing work, tracing the life of Zoë Delighty from birth to mature womanhood. It is a testament to the heroine’s survival of the vicissitudes of her active life, and her struggle to counter the malign influences of her girlhood which dog her through her attempts to engage herself creatively in life.