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The title is presumably meant to be ambiguous. Not only did the protagonist, Howard Hughes, hurtle round the world in aeroplanes of his own devising, and not only did he ingest amphetamines at a rate that would finish most of us, but there is also a sense of his crashing non-stop through life itself. And 'speed', he tells us in Luke Davies' remarkable new novel, ‘shouldered some of the weight for me ... helped me maintain control over a bucking project, since, control, ultimately, is all there is.’

Media discussion of the 2006 Nobel Prize winner, Orhan Pamuk, tends to focus on his political persecution at the hands of the Turkish state. Pamuk concedes that history has forced him to don a ‘political persona’, one that journalists and literary festival audiences are keen to encounter. Yet Pamuk’s new collection of essays, Other Colours: Essays and a Story, reveals where politics (or political commentary) and the writer of imaginative thinking part company.

Reflecting the nineteenth-century obsession with death and the afterlife, thousands of British men and women turned to spiritualism and psychical research. This was, in part, a consequence of many educated people's unease with orthodox religion. From crowded public halls to private drawing rooms, practitioners were present during putative ‘messages’ from the dead, rapped out on tables, walls and floors, scribbled on slates and, occasionally, expressed in garbled song. Tennyson wrote, ‘the veil / is rending and the Voices of the day / Are heard across the Voices of the dark’.

My first emotions in a seagoing submarine were a mixture of fear and exaltation. I was a seventeen-year-old cadet-midshipman ‘sea riding’ in HMAS Oxley as it prepared to fire the first Mark 48 guided torpedo acquired by the Royal Australian Navy from the United States near thirty years ago. When the boat submerged off Sydney heads and we proceeded beyond a depth of six hundred feet, I assumed the strange noises I could hear and the weird sensations I felt were a familiar part of submarine life. While I had complete faith in the very experienced commanding officer, I realised that any catastrophic accident would probably result in the deaths of all seventy-two souls on board.

Sometimes books date quickly. This is the fate of To Firmer Ground, which was published in October 2007, one month before the change of government in Canberra. Had it appeared one year earlier, or had Kevin Rudd not triumphed at the ballot box, then this book might have provided a timely critique of the policy failings of the Howard government. Six months later, with Kyoto ratified and the new parliament having apologised to the ‘stolen generations’ and amended WorkChoices in its first sitting week, this volume seems bogged in the past.

Narrative, historical narrative in particular, figures strongly in these recent books from Judy Johnson – one a new collection of poems, the other a welcome reissue of her verse novel. Jack was first published in 2006 by Pandanus, shortly before that imprint’s demise. It won the 2007 Victorian Premier’s Award for Poetry, and is republished now by Picador. With its lonely, embittered, one-eyed captain, its miscellany of onboard characters and Coral Sea setting, it is not without potentially cliched romantic elements – which the Picador cover, with its Blue Lagoon-like scene and blockbuster typeface, is happy to trade on. But Jack compels.

Almost thirty years on, in a post-Samaranch age, when the wealthy Olympic movement mimics the United Nations in world affairs, the 1980 Moscow Games resemble prehistory, especially for Australian athletes, officials and spectators still revering 2000 Sydney successes. Yet as Lisa Forrest recounts, the Moscow boycott shredded the traditional views of Australian sports people, ensured national sport would become more politicised, and produced shameful behaviour all round.

sampling Jeffrey Harrison’s ‘Danger: Tulip’,
from Ploughshares, Winter 2006–07

Was I hoping to find my way to the creek, loud
with unseasonal rain, and to see, perhaps,

Fear of Tennis is David Cohen’s quirky and absurd first novel. It features the obsessive Mike Planner, whose interests include court reporting and bathrooms. When he bumps into Jason Bunt, his best friend from high school, Mike recalls how they fell out.

As survival memoirs go, Lifelines is unusual in at least one respect. Peter Couche has managed to write this book over a period of thirteen years, while almost completely paralysed and unable to speak after a stroke. With the small amount of movement left in his index finger, he uses a computer to write.