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During next month – October – we celebrate Australian Book Week, and during this week the winners of the National Book Council 1978 Australian Literature Awards will be announced. As one of the judges, I have been forced by this contest to think not only about the value of competitions in the arts, but also about what we might mean by giving any book an award for ‘best of its kind’. Certainly, the contest, like the book week, helps to bring public attention to Australian books, and brings some sort of monetary reward to the author and publisher of the winning entry.

My first thought on reading Father Lands was of Lasse Hallström’s film My Life as a Dog (1985) in the way that both novel and film enter so completely and unerringly into the world of childhood with all its quirks, illogicality, and fears. But there are other traditions at work in this novel, set in Milwaukee in the mid-1970s, and which recounts Cherry Laurel’s experience of the ‘Historical Experiment’ of integrating black and white primary school students. Ballou, an American who has made Australia her home for the last decade, may also have had in mind the use of a child’s-eye perspective that runs through American literature from Huckleberry Finn and To Kill a Mockingbird to Donna Tartt’s The Little Friend, in which matters of great historical significance, particularly the racial history of the USA, are brought into relief by the stark honesty of an ingenuous child-narrator.

Allen & Unwin tells us that David Marr and Marian Wilkinson’s much-anticipated book about the Tampa Affair has been postponed until February 2003. The title is now Dark Victory: The Military campaign to re-elect the Prime Minister.

As HarperCollins continues to release this welcome series of Australian reissues, it’s especially pleasing to see them including less well-known, even long-forgotten, titles. While I had read none of these latest offerings, I did at least know something about three of the authors. Les Robinson, however, was almost a complete mystery. ‘Almost’ because I had a vague memory of one of his stories being included in an anthology I once lectured on. Obviously, it did not impress me enough to seek out more of his work. Nor would it have been easy to find, since, unlike the other three titles, The Giraffe’s Uncle had never been reissued since its first printing, in 1933, by the Macquarie Head Press, a firm now as forgotten as the books it published.

'I knew I was bright, but not special’, writes Zoë Caldwell early on in her pithy, telling memoir. Still earlier (indeed, in the first paragraph), she says that she knew, even from an early age, she was destined to perform: ‘ … to stand in front of people, keeping them awake and in their seats, by telling other people’s stories and using other people’s words. I knew this because it was the only thing I could do.’ There is a bit of self-deprecation in these words that is at loggerheads with what we have come to expect from actors’ memoirs, which are, more often than not, scribbled sentences rather than thoughtful paragraphs, and which tell us more about vanity, greed, self-indulgence, and the patience of the haunted ghost-writer than they do about the actor as a professional or a person. Actually, such books are like sets on some early television shows: bricks-and-mortar, but really canvas and plaster with wooden backing, which wobble every time somebody walks past. What they are not is true autobiography.

We heard the news in the Giardino. Our party had agreed to meet at the American pavilion. James Rondeau of the Art Institute of Chicago, co-curator of the Robert Gober exhibit, was going to take us through the show. As the various members made their way through the 49th Venice Biennale to the rendezvous, we learned that the World Trade Centre towers had been hit and that the Pentagon was on fire. Behind us, the American pavilion was quietly closed. On the vaporetto back to the hotel, a Belgian businessman was on his cell phone to his secretary in Brussels. He turned and told us that both towers had collapsed.

'This is a book about friendship and storytelling’, writes Marilla North in her prologue to this artfully arranged selection of correspondence. It begins in 1928 and covers the next twenty-seven years, chronicling the large and small events in the lives of Dymphna Cusack, Florence James, and Miles Franklin, three of Australia’s most vital, fluent, and committed women writers.

At the end of his big book Gallipoli, Les Carlyon observes that if the campaign made more sense ‘it would be a lesser story’. There’s much in what Carlyon says. The 1915 campaign was insignificant in the scale of the Great War; it achieved nothing, and petered out like a forgotten afterthought. It makes little sense, then or now.

There are times when the act of editorialising seems reckless, if not otiose. Any such column, written on 20 September, runs the dual risk of belatedness – or prematurity. So appalling were the events of 11 September, and so ominous their ramifications, no one can be confident of the likely international developments in coming weeks, days, or even hours. All we can do at ABR is to sympathise with the families of those killed in New York, including a number of Australians, while also following events and covering the issues and inevitable publications in these pages.