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The collapse of the Soviet Union had one quite unexpected effect on world tourism ­– it opened up Antarctica. Cash-strapped, post-Communist Russia could no longer afford its large collection of Antarctic bases, or the fleet of polar-equipped vessels that supplied them. Many of these ships are now chartered out to adventure travel companies. As a result, the opportunities to visit Antarctica have increased dramatically, while the cost of getting down to the ice has dropped steeply. The Antarctic visitor total is now around 15,000 tourists a year, quite apart from the personnel travelling south to the forty-odd scientific bases.

‘Some meteorites make it to the surface simply because they’re so small that they literally float to the ground. There are thousands of these interplanetary particles in the room you’re in now, stuck to your clothes, in your hair, everywhere.’ This startling piece of information introduces Aileen Kelly’s ‘Notes from the Planet’s Edge’ in her new book, City and Stranger (Five Islands Press, $16.95 pb, 88pp), whose cover features Russell Drysdale’s iconic image of Woman in a Landscape. This bushwoman, then, is stuck with interplanetary particles or, as Kelly puts it, ‘the invisible sift of space’. Drysdale’s woman is transformed from the Australian legend in the dirt-coloured smock, wearing those oddly impractical white shoes, into a figure framed by an immense and moving universe. We look for this in poetry – the breaking of frames, the pleasure of surprise and discovery, and the contest between language and experience.

This is a tale of a farm boy who grew up in ‘the world of the rural poor, [which] remained what it had been for generations; a day’s walk in radius, a tight, well-trodden loop between home, field, church, and, finally, a crowded family grave plot’. It is the story of James Cook’s dramatic escape from that loop, told by another equally restless soul, American journalist Tony Horwitz, who spent eighteenth months travelling the Pacific in the wake of Cook’s three great voyages of discovery.

Being out of print is like moving back in with your parents – it’s not usually a sign that things are on the up. But fortune’s wheel turns with scant regard for merit or effort, so it must be a relief for writers when their publishers decide to ‘celebrate their continuing contribution to Australian literature’ with a re-release of their back catalogue.

Comedy, Angela Carter once quipped, is tragedy that happens to other people. Laughter is both an expression of our hard-bitten knowledge of the random cruelty of a universe that stubbornly resists our attempts to control it and an act of defiance in the face of that cruelty. Or, to put it in simpler terms, if you didn’t laugh, you’d cry.

When Barry Humphries published his first volume of autobiography, many readers were left wanting ‘More, please’ – avid as gladdie-waving victims during one of his shows; voracious as the greedy polymath himself ...

It was inevitable, sooner or later, someone would write a book celebrating the achievements of the Protestant Irish in Australia. Books commemorating the part played by the Catholic Irish culminated in Patrick O’Farrell’s ambit claim that they were responsible for just about everything we like to think of (or used to think of) as being distinctively Australian. Now Professor Jarlath Ronayne has given us his own hyperbolic response in the subtitle of this sumptuous publication. The best way to see the book is as a useful reminder that ‘Irish’ and ‘Catholic’ were not synonyms in colonial Australia. Irish-born Protestants, whether they were members of the Ascendancy élite or, as in most cases, of much more modest origins, identified themselves as Irish. In early Melbourne, they joined with the Catholic Irish to celebrate St Patrick’s Day as their national event. However, their Irish ‘nation’ was the Protestant nation euphorically invoked by the Protestant ‘Patriots’ of ‘Grattan’s Parliament’ in the 1780s. And Trinity College, Dublin, was the alma mater of that minority ‘nation’.

Writing novels, he’s Tom Keneally. Works of history – such as The Great Shame (1998) about the Irish diaspora to the USA and Australian in the nineteenth century, and this year’s American Scoundrel, concerned with the adventures of politician, general and amorist Dan Sickles – are by Thomas Keneally. There is more doubling in Keneally’s most recent novel, for he uses two titles. In this country, we have An Angel in Australia; in Britain, The Office of Innocence. Each suggests a different line of approach to a novel that seems in some ways old-fashioned, so instinct is it with his earlier work. By the way, Keneally’s novel count is now twenty-six, including two under the pseudonym ‘William Coyle’.

Have the Bali Bombings completely changed our view of Indonesia? Although obviously not designed to do so, these three books provide necessary background on how such an atrocity might be possible in the near-anarchic circumstances of that country. They also give a wide-ranging and informative picture of the present state of Indonesia in all its chaos and uncertainty. They make sobering reading, as if Indonesian politics is a mixture of Shakespearean tragedy, Javanese shadow play and gangster drama: Hamlet, Semar and The Godfather.

When Malcom Fraser was prime minister, he was generally thought of as a hard and ruthless man of the right. In part this was because of the role he played in the removal of Gough Whitlam; in part because of his fiscal prudence; in part because of his orthodox Cold War foreign policy. Following his defeat in 1983, an alternative picture of Fraser gradually emerged. Under Labor, Australia embarked upon a program of economic rationalist reform. For his failure to anticipate this programme – to be wise or, as some would say, unwise before the event – Fraser was caricatured, especially by his former political friends, as a do-nothing prime minister. His time in office was ridiculed as Seven Wasted Years. After 1996 Fraser became one of the most influential critics of John Howard’s new brand of populist conservatism. The portrait of him was once more redrawn. The left saw him as a principled humanitarian; the right as an incorrigible Wet.