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Detective Rubens McCauley has recovered almost fully from a gunshot wound suffered while exposing corrupt Melbourne cops: see Head Shot (2005). Colleague Cassie Withers supports McCauley, but his superior officer wishes him elsewhere. His private life teeters on the brink: he has neglected his mother who suffered a stroke; he has unresolved issues with his father; his brother wants him to counsel his niece about the dangers of party drugs; and he hopes to revive his relationship with his estranged wife.

Blast reinvented itself as a poetry-centric magazine in March 2005, and is now something akin to the Chicago-based Poetry – a lot of poetry, followed by critical writing about poetry – though Blast is shorter and Australian. Like Poetry, it is an upper-echelon affair, born from a philosophy of quality. The problem with the new Blast, for better or for worse, is that many of the same names keep coming up. Kevin Brophy, Jan Owen, Michael Sharkey and Leon Trainor have featured in four out of seven editions. Elizabeth Campbell, Bruce Dawe, Mike Ladd, Paul Magee, John Jenkins, Philip Salom, Petra White appear in three out of seven. The problem, you ask? They are all good poets!

And midway through the first course
of pickled fish in the restaurant
by the river that night
slid a black on black
barge
under the brilliantly lit
bridge

Andrew Rotter does not usually write about nuclear weapons. The Colgate University Charles A. Dana Professor of History is known for his works on twentieth-century American diplomatic history. He was approached, ‘out of the blue’, by David Reynolds in the summer of 2001, just before the attack on the Twin Towers. Reynolds, well known for his writings on the so-called ‘special relationship’ between the two English-speaking powers on either side of the Atlantic, was advising Oxford University Press on its series of the significant events of the twentieth century. Few events were more significant than the use of a nuclear weapon on Hiroshima in August 1945.

In 1964, newly appointed to the Department of English at the very new Monash University, I was uncertain about nearly everything. But as I unpacked my books in a pristine, sparsely furnished office, I found reassurance in the empty filing cabinet. I knew exactly how to fill its three drawers. As soon as I had some notes and a stack of manila folders, I would put poetry in the top drawer, fiction in the middle and drama down below. These three genres corresponded with the three terms of the academic year, as I had known it as a student. It was the natural order of things. That there might be a fourth drawer for biography, or even a space in the lecture programme for life writing, would not have occurred to me. This was the Leavis era – late Leavis indeed, but still preoccupied with close reading of literary texts. D.H. Lawrence’s mantra ‘never trust the teller, trust the tale’ seemed sufficient warrant for bypassing the teller altogether.

Henry Bolte and Bob Askin were the ‘big men’ of state politics in the 1960s, when I was a young political scientist. Bolte I never met, and Askin I met only once, but I knew the latter’s deputy premier, Charlie Cutler, quite well. I grew up in northern New South Wales and throughout my life, it seemed, we had only ever had Labor governments. The premiers cycled by with an air of inevitable succession: McKell, McGirr, Cahill, Heffron, Renshaw. Yet all five had been there in 1941 when the rejuvenated Labor Party, free both of Jack Lang and the far-left opposition to him, trounced the Mair–Bruxner government at the polls. For anyone who had been through that quarter of a century, Labor’s narrow defeat in 1965 was a shock. How could it have happened?

Why are there so many books about death and dying appearing at the moment? Is it about the baby boomers facing up to their mortality? It is certainly a subject that interests me, and Debra Adelaide’s novel should be compelling. Unfortunately, I found its determined flippancy laboured and grating. The first-person narrator, Delia, a writer of household guides, is not yet forty. Given a bad prognosis for her breast cancer, she decides that her last work will be a guide to dying, in which she will record her physical and emotional journey.

Written by Marnie Hughes-Warrington, of Macquarie University, this is essentially a text for both students and teachers studying ‘historiography’, which, according to my dictionary, is writing about history, rather than historians ‘making’ history, as is sometimes said here. Enthusiasm for the first edition of Fifty Key Thinkers on History (2000) has brought forth this new edition and shifted its emphasis more towards ‘historiography’. Indeed, a new introduction – ‘What Is Historiography?’ – suggests four different approaches to the subject.

When it came to Iceland, Monty Python, as always, had the properly irreverent idea. Their version of Njal’s Saga was a horrendous case of interrupted narrative. It took ten minutes for their ‘very exciting Icelandic saga’ to get started, bogged down as it was in endless biblical begetting, and when things did kick off, the whole sketch unwittingly collapsed into an extended advertisement for a sleepy British town named Malden.

In the years between the two world wars, the young Soviet Union was, for socialist intellectuals and many liberals in the West, a social laboratory, one that held the promise of a new world order. Inspired by the transforming power and promise of the October Revolution of 1917, some were drawn to admiration of the great Socialist Experiment ‘in a land where revolutionaries were trying to create a socialist society based on the principles of central economic planning’.