Tasmania punches above its weight in the literary world, as elsewhere. And not before time: traditionally it always seemed marginal and could be left off the map of Australia on logos. A change came about fifty years ago, with the emergence of the Greens and the campaigns to save Lake Pedder and the Franklin River. Now, what with quality food and wines and MONA and MOFO – plus something of a southward migration given climate change – Tasmania has become trendy. But it remains a place where the past lingers.

An unknown woman – traumatised, amnesiac, unable to speak – is found just north of Broken Hill in western New South Wales. Who she is and what happened to her is the question that drives Gail Jones’s twelfth novel, The Name of the Sister.

The first six months of the second Trump administration have left American allies worldwide, including Australia, in a state of shock and sullen resignation. Shock at the resumption of Trump’s global trade and tariff war, following threats to Canada, Greenland and Mexico, not to mention the harm being done to American institutions and soft power; resignation that US protectionism and the rising demands of Washington on allies to pay more for their own defence are here to stay.

Science communication is a basic skill for all scientists, even if it is mostly performed for a restricted academic audience. Nonetheless, all scientists must also write for broader audiences – and some have turned this into an art form. Such practitioners of accessible ‘scientific writing’ have a slightly different task to the ‘science writing’ of writer/journalists who report on, rather than from within, the field. Popular scientific writing engages not just the general public, but also other scientists. Such long-form writing often generates new insights and knowledge by synthesising broad fields of fragmented or isolated disciplinary components, thereby creating new paradigms. These are often the books that change the way we see, think about, and study the world.

Readers grow faithful to their favourite authors – to their style, their literary landscapes, and the moods their books create. Readers of Deborah Levy’s work have come to know and love her idiosyncratic voice. Her texts plunge readers into quotidian worlds made surreal and her narrators point out the humour and strangeness of everyday life.

Carbon is, to quote Paul Hawken’s opening, ‘the narrator of lives born and lost’. It ‘organises, assembles, and builds … the most socially adept entrepreneur in the pantheon of life’. One could, with only a little exaggeration, apply this description to the author of Carbon: The book of life.

For a long time, Antigone Kefala was thought of as a migrant writer. This lens confined discussion of her work to the territory of biography and witness and obscured the migratory poetics of the writing itself. In her spare, bristling poems and candid journals, and across her non-fictional prose and fiction, Kefala’s restive work hinges on precision and vision.

‘The time is out of joint,’ says Hamlet. And, as Jacques Derrida tells us in Specters of Marx (1993), it is also ‘deranged, both out of order and mad. Time is off its hinges … off course, beside itself, disadjusted.’ If time was deranged thirty years ago amid the AIDS crisis and the Balkan wars, in the wake of Francis Fukuyama’s ‘end of history’ and the first Gulf War, the times have now mutated, become radically other again and again. There is before Covid-19 and after, before generative artificial intelligence and after. There is time before the return of fascism as a global phenomenon and time after: time now as authoritarians surge to power on promises of a return to pasts not only unreachable (and, for many, undesirable) but which never existed in the ways they are now imagined.

Kirli Saunders (OAM) is a proud Gunai Woman and multi-award-winning writer, artist, singer-songwriter, and consultant. Kirli creates to connect, to make change. She was awarded an Order of Australia Medal for her contribution to the arts in 2022. Kirli is the author of eight books, including Bindi (2020), Returning (2023), Afloat (2024), and Eclipse (2025). Her theatre show Yandha Djanbay will tour in 2026.

The global reaction to the recent death of Pope Francis and the ensuing election of Pope Leo XIV confirmed the centrality of the Vatican to its 1.3 billion followers and the international political landscape. The Vatican is the world’s smallest sovereign city-state with a tiny permanent population of 882, yet has immense influence. The intensely hierarchical Holy See is far from transparent. Secrecy, scheming, intrigue, and subterfuge have been the hallmarks of its modus operandi, to which the film Conclave (2024) so grippingly alludes.