In Dove, the familiar Barbara Hanrahan ingredients – acute realism and the fantastic, the grotesque – are combined once again to produce yet another powerful and moving novel. The scale of realism and fantasy is, as always, finely balanced. The various locations of the novel, for instance, are beautifully realised. Hanrahan has the eye of the graphic artist for the broad canvas, the sweep of light and sky, and the telling detail. Her eye ranges from the Adelaide Hills to the suburbs of ‘pebble dash and pittosporum’ to the Mallee: ‘an antipodean jungle of stiff splintered branches, a mysterious pearly-grey gloom’ interspersed with the ‘faraway rash of green’ that is the wheat. Yet there is more to landscape than this; place is used throughout to evoke psychic states. Appleton, for instance, suggests beatitude and primal innocence. Arden Valley the fairytale potential for the transformation of life, and the Mallee the promised land of plenteous crops and realised love.