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When David Brooks’s last volume of poetry, Walking to Clear Point, was published in 2005, it carried particular weight and fascination as his first volume of poetry in twenty-two years. It had been preceded in 1983 by The Cold Front, which, for some of us, was an influential book of ‘deep image’ poetry carved out of fault-lines and flaws, figuring honed poems of darkness and light. Now, after only a two-year gap, Brooks’s new collection of poems, Urban Elegies, has been published by the Island Press co-operative.

The wandering albatross is the largest of the Diomedeidae family, with a wingspan exceeding three metres. Apart from occasional colloquies over squid or fish, it flies alone for thousands of miles, joining other albatrosses only to mate every two years, always with the same partner. It can live up to sixty years, skimming silently over the southern ocean, seemingly with little effort.

James Woodford’s first novel, Whitecap, deals extensively with these denizens of the sea. Several of his characters are obsessed with them; one of them, Digby Stuart, who is writing a doctorate on wanderers, spends many winter hours at sea waiting to capture them, place metal identification bands on their ankles and, somewhat disturbingly, spray-paint numerals in day-glo red on their snowy chest feathers. The defacement of birds in the name of science is one of many authentic and well-researched snippets of information in the novel. This rigour is unsurprising, coming from an author who was for many years an environmental and science journalist for the Sydney Morning Herald and who has enjoyed considerable success with three works of nonfiction: The Wollemi Pine (2000). The Secret life of Wombats (2001) and The Dog Fence (2003).

The official published accounts of Captain Cook’s three great voyages (1768-79) were immense popular successes in Britain. That for the third voyage sold out within three days of publication in 1784. When the Frenchman La Pérouse sailed from Botany Bay in March 1788 into the Pacific – and into oblivion – he remarked that Cook had done so much that he had left him nothing to do but admire his work. In the previous year, the German, Georg Forster, had published in Berlin his eulogy of Cook, Cook der Entdecker (Cook the Discoverer). Cook was the first international superstar, and time has only increased his celebrity status. Major scholarly biographies continue to be published, and seminars which feature Cook in their titles are sell-outs. The name is box-office magic.

One stock form of biography is attempting the rehabilitation or revision of a character whose reputation seems well settles. In theory, the most challenging of such projects is that of returning the Devil, otherwise known as Lucifer or Satan, from the lowest circle of human estimation to a more sympathetic or nuanced position. With a tip of the hat to Jack Miles’s God: A Biography (1995), Henry Ansgar Kelly constructs a diabolical life of sorts, retracing the idea of Satan across the centuries from ancient Israel to contemporary Catholicism. This is partly a popularising presentation of scholarly research on an idea and its variations, and partly the outworking of the attractive conceit, borrowed from Miles, that behind the pages of scriptural and apocryphal material lies the development of a real character.

Some writers are wary of bookshops. It is not the bright lights or the sharp smell of all that new ink, increasingly mingled these days with the aroma of fresh coffee: it is just the sight of all those books – thousands of them. ‘Why am I doing this?’ they think. ‘Does the world really need yet another book? What’s the point of it all?’ But then they read a new novel – it might even be a best-seller or have won a major prize – and think, ‘No, it’s OK. I can do as well as that, and maybe if I try hard enough I can even do better.’ So they keep writing.

From September 1958 until his capture in August 1963, Eric Edgar Cooke conducted a terrifying campaign of violent crime in greater Perth which left eight people dead and several others permanently injured. The damage did not stop with Cooke’s arrest. A young labourer, John Button, had previously been convicted of one of Cooke’s murders: the hit-and-run killing of Button’s girlfriend., Rosemary Anderson. Button was serving ten years’ imprisonment. Neither Cooke’s confession to the murder of Anderson nor subsequent police investigations were sufficient to convince authorities that the justice system had miscarried. All of Button’s legal appeals (including one to the High Court of Australia) were dismissed. Button steadfastly maintained his innocence, even after he had served his sentence, fruitlessly petitioning politicians for a reopening of his case. For many years the injustice remained, until a chance encounter in 1992 between Button’s brother and a journalist named Estelle Blackburn. With a reporter’s nose for a good story, Blackburn began an investigation of Button’s case that was to last six and a half years and create Australian legal history.

Joanna Mendelssohn is best known as an art critic and historian. After the publication of an essay in The Griffith review entitled ‘Going Private’, Pluto Press commissioned her to write a piece for its Now Australia series. Similar to Black Inc.’s Quarterly Essays, but even more determinedly non-academic, the Pluto Press format is part of a publishing phenomenon and covers a range of political, intellectual and cultural views on public issues and debates. The authors are not necessarily experts in the area they write about, nor are their views always based on systematic, in-depth research.

A little over a year ago, the contents of George W Bush’s iPod were made public. The revelation offered momentary respite to the beleaguered president as the international press seized upon the playlist, scrutinised its contents and, much to the relief of the White House, made tallies of song titles and popular music genres instead of the latest casualties in Iraq. IPod One, as it was dubbed, was shown to be heavy on country and western music and 1970s rock, and light on just about everything else. ‘No black artists, no gay artists, no world music, only one woman, no genre less than 25 years old, and no Beatles,’ reported the London Times.

The Cinema of Australia and New Zealand is the thirteenth of Wallflower Press’s ‘24 frames’ series, but there is no need for the editors to feel superstitious on that account. This is a series which presents certain problems. It requires the editor(s) of each volume to choose twenty-four films that are, in some degree, representative of the titular country, or, as the case sometimes even more dauntingly is, of two titular countries – and I know whereof I speak. Having edited Wallflower’s The Cinema of Britain and Ireland (2005), I can sympathise with the difficulties involved in trying to achieve any sort of representativeness across not one but two film-making countries. And I might add resentfully that Canada gets a whole volume to itself. Canada!

One of the major cliches of recent years is the retiring politician’s parting statement, ‘I’m leaving politics to spend more time with my family’. Indeed, the tensions between work and family commitments have become a regular topic in the media. Newspaper articles sometimes cite the views of prominent social scientists, whose academic publications affirm the popular view that society as a whole benefits from fostering a working environment that acknowledges the importance of family and community. With Weighing up Australian Values, Brian Howe, a former deputy prime minister (1991–96), becomes the latest in a long line of Australian authors to promote public policies that encourage work-life balance.