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If your interest in Australian literature predates its current flavour-of-the-month status, no doubt there exists, somewhere in your dinner-party repertoire, a screechingly funny reminiscence from the long ago, that winds up with some pompous professor of literature, or some arrogant publishing mogul, delivering the punchline, ‘Australian literature? Guffaw guffaw. I didn’t know there was any’.

It is fair to say that graphic novels are now an accepted form of literary endeavour. One could even argue that this happened quite some time ago, with the benchmark publishing event that was Alan Moore’s Watchmen (1986). Comics had long been threatening to make the leap of legitimacy into the publishing mainstream, and Moore’s unashamedly adult opus was the perfect platform for DC comics to market a collection of twelve slim comics as a full-length ‘graphic’ novel. Their gamble has turned out to be prudent, as evinced by Watchmen’s faithful transition to the silver screen this year. With special-effects technology finally able to capture the fantasy world of comics, and with a guaranteed audience, it is little wonder we are witnessing an endless onslaught of Hollywood blockbusters based on successful graphic novels.

When George Lambert returned to Sydney in 1921, he was celebrated as the most successful Australian painter of his time. With his cosmopolitan charm and forceful personality, he was in demand both socially and as a leader in contemporary art circles. For the previous two decades in London, he had exhibited regularly at the Royal Academy and the Chelsea Arts Club, rubbing shoulders with prominent British artists including William Orpen, Augustus John and William Nicholson, whose linear style and subject matter were not dissimilar to his own.

It is such an obvious subject for a book. The two most powerful peoples in the world in the past thousand years have been the Chinese-speaking and the English-speaking peoples, and in the past hundred years those speaking English have been the more influential. While Winston Churchill wrote four volumes, which were bestsellers in their time, on the history of the English-speaking peoples up to the year 1901, I know of no other book which has surveyed this century of their greatest power.

I was thinking a while back about some of the ways novels begin; not just the famous ones – ‘Happy families are alike’ etc, ‘Call me Ishmael’, ‘Unemployed at last’ – but also some contemporary examples. If I had read Michael Wilding’s National Treasure at that time, I would have conscripted it immediately: ‘Plant slipped down lower in his car seat as the man down the street was beaten up.’ Resounding first sentences often create the problem of where and how to proceed. Wilding manages very well: ‘He was quite a young man being beaten up, and the men beating him up were quite young too. So was Plant for that matter. Young. This was a young country. A young culture.’ These few lines signal quite a lot about how things are to unfold: the blandly matter-of-fact nature of the observation, so at odds with the nastiness of what is being observed; the non sequiturs breaking wildly beyond the apparent bounds of the narrative; and that isolated word ‘Young’, with its insistence, its tinge of impatience lest an obvious point be missed. My little burst of close critical reading is intended to foreshadow that among National Treasure’s various treasures is some wonderful writing.

If you didn’t read Meg Stewart’s gentle, courteous Autobiography of My Mother when it was first published in 1985, no matter. This second edition was precipitated by the research of others. ‘What My Mother Didn’t Tell Me’, the title of the additional chapter, is that Margaret Coen, Meg’s mother, had a long affair with Norman Lindsay in the 1930s. Lindsay was married, in his fifties; Margaret in her early twenties. The first edition is hardly altered, and only the new chapter challenges Coen’s reticence, causing us to think hard about oral history.

It is remarkable how death has loomed so large in the social sciences over the past couple of decades. From mangled bodies to mediated mass killings, from the medicalisation of dying to the ‘snuff’ movies of hardcore porn: death obsesses the sociological imagination.

According to a recent government survey of child and youth health, around five per cent of young people over the age of twelve suffer from a major depressive illness. Sources of such depression, according to the survey, include stressful events, trauma and heredity. Increasingly, the origin of the illness remains unknown. These disconcerting figures indicate the need for intelligent and accessible discussion about mental health in young adult literature. Both GriEVE and What Does Blue Feel Like? oblige. The first investigates the painful mechanisms of grief and mourning; the other, clinical depression triggered, amongst other things, by abortion.

On the fortieth anniversary of the 1967 referendum, the Weekend Australian editorial devoted considerable time to savaging the dominant 1970s model of indigenous development, most closely associated with Nugget Coombs: a ‘neo-pastoralist dream [that was] philosophically flawed, a fatal fusion of romanticism and Marxism’. Helen Hughes, in an excerpt from Lands of Shame in the same newspaper, echoes the sentiment, labelling the re-creation of remote communities ‘reverse racism’. Hughes writes: ‘a few courageous leaders are demanding an end to welfare dependence, but their voices are drowned out by articulate élites.’ Enter Noel Pearson, whom the paper’s editorial applauds, along with John Howard. The Australian also published an edited version of the fifty-page article ‘White Guilt, Victimhood and the Quest for a Radical Centre’ that appears in Griffith Review 16.   ‘White Guilt’ puts flesh on Pearson’s well-known objection to welfare and his emphasis on individual indigenous ‘responsibility’. He looks to early black-American models of liberation, including those of Booker T. Washington and W.E.B. Du Bois, for inspiration. It will surprise no one to learn that Pearson favours Washington’s approach, in which ‘blacks should secure their constitutional rights through their own moral and economic advancement’, over Du Bois’s call for ‘ceaseless agitation’. Pearson firmly believes that public policy should encourage the most disadvantaged people in society to change the way they think about themselves, rather than the way the majority thinks about them. While acknowledging that racism originates at a systemic level, Pearson argues that it is a ‘terrible thing to encourage victims … to see themselves as victims’. The consciousness of Bill Cosby, he suggests, would be a good role model. Pearson draws extensively on the black American Shelby Steele, who argues that white guilt, in the form of affirmative action, for example, erodes black agency by making blacks feel helpless: ‘agency’, Steele believes, ‘is what makes us fully human.’