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The final volume of the diaries of Donald Friend covers the years from 1966, when he was fifty-one, to 1988, the year before his death. For a little over half this period (represented by more than two thirds of the diary entries), Friend lived in Bali. He did so in some splendour, waited on by a retinue of houseboys and visited by the distinguished and the celebrated. This was before mass tourism. There are extensive descriptions of Balinese life – the people, their customs, the religious festivals – and of the ancient monuments. These are of interest, but there is little of Friend in them. He could have been writing a travelogue. There is much on his collecting expeditions for Balinese artefacts, his property developments and his problems with thieves. It is not the quotidian nature of these activities which is the problem. A skilful diarist allows us to see the mundane afresh, through his or her peculiar lens. Here, again, Friend seems to have gone missing.

Michelle de Kretser’s third novel opens with a man and a dog in the Australian bush, an image whose hooks are sunk deep in our national psyche. Recall the Edenic first chapter of The Tree of Man (1955), with its portrait of Stan Parker settling on a patch of virgin wilderness with only his dog for company. In the Australian Garden, Eve is a subsidiary companion.

I recently watched a DVD of The Big Chill (1983). The film’s melancholy over the lost radicalism of the 1960s pervades What Happened to Gay Life?, Robert Reynolds’s new book. One might guess that a book about gay – once synonymous with happy – life might feature a bit of glitter and laughter, but this is not the book’s point.

The resounding metaphor in The Low Road is that of a bullet wound and ‘the shock waves it sends through the body, often creating a cavity ahead of where the bullet stops. Almost as if the body accommodates the object’s anticipated trajectory and manufactures its very own injury.’ Chris Womersley’s intentions are suitably applicable to this laparoscopic image: to examine the cycle of crime, social alienation and despair, set against an uncanny dystopian landscape.

These are parallel careers, and Antonio Buti’s biography of Ronald Wilson (1922–2005) is much concerned with the connections and contradictions between them. The book blazes into life whenever it touches on Aborigines: its framing device is the 1997 Reconciliation Conference in Melbourne, when delegates turned their backs on John Howard and what the Herald Sun called his ‘hectoring rant’. Wilson regretted their incivility, yet wondered whether Howard’s behaviour gave it justification. In 1969 a speech by ‘Nugget’ Coombs inspired Wilson to join the New Era Aboriginal Fellowship, and later to help establish the WA Aboriginal Legal Service. In 1985 he worked for three weeks as a builder’s labourer on an Aboriginal community centre. Four years later, he visited communities in Arnhem Land. Then there are the apology stories: Wilson’s ‘pilgrimage to Mapoon’ in 1990, to apologise for church acquiescence when the settlement was dispersed in 1963 to make way for bauxite mining, and his joinder with Dorothy McMahon in apologising for her momentary brusqueness towards Aborigines at a World Council of Churches assembly in 1991.

Consider the plight of the established novelist. The readership (that’s us) comes to recognise a particular style, a particular set of themes, and presumably that is one of the reasons to go on buying the writer’s books. Should the next book always be in the same mould – in which case we might become a tad bored – or should there be something quite out of character, causing us to gasp with disbelief? After all, it is usually disastrous when a diva starts singing popular songs. Christopher Koch’s new book sets up these kinds of tension. Something new about what is remembered?

Given the Howard government’s recent proposal to include the compulsory study of selected aspects of Australian history for secondary school students, perhaps it is time for more educators to follow the lead of Nicholas Jose and others in urging that Australian literature occupy a more prominent place in the school curriculum. Literature – and poetry in particular – does not have the political buzz that history possesses (especially since the recent ‘history wars’ have worked their way into public discourse), but there is a need for some healthy consciousness-raising about the flourishing state of Australian writing, which is often better understood beyond our shores than it is at home.

Quite when the figurative usage of ‘companion’ as ‘a work of reference ... that is presented as a friend to be consulted with whenever needed’ came into fashion is uncertain. I well remember my first companion, the third edition of the invaluable Oxford Companion to English Literature, from my student days in the 1950s. Oxford University Press now has a large stable of companions – some seventy titles at last count – covering everything from Christian thought to jazz to baroque music. The latest addition to the Oxford stable is a doorstopper: The Oxford Companion to Australian Politics (OCAP). Together with its sister volume, The Oxford Companion to Australian History, first published in 1998, it should become an indispensable, if expensive, tome in the library of any thinking Australian.

As the size of Jennifer Strauss’s two-volume scholarly edition of Mary Gilmore’s verse attests, Gilmore (1864–1962) is one of the most prolific poets in Australian literature. At around 800 pages, Volume 2 complements the first volume (which Vivian Smith reviewed in ABR, February 2006). Together, these two volumes represent the most detailed editing of an Australian poet to date. Rayner Hoff’s bronze statue of Gilmore’s head on the cover signals the consolidation of Gilmore’s reputation in the last thirty years of her life. (In 1933 Gilmore became a life member of the Fellowship of Australian Writers; five years later, she was made Dame of the British Empire.)

Until the last decade, there has been very little serious scholarly interest in Australian book publishing. Indeed, when I began lecturing in this discipline in 2001, there was no historical or contemporary overview that could be recommended to my students beyond the entry in the Australian Encyclopedia. However, with the recent dramatic growth in Communications courses, and spurred on by projects such as the History of the Book in Australia (HOBA), this situation has suddenly changed. UQP has already published two of the three promised HOBA volumes on the history of Australia’s print culture. Now we have, from the same publisher, a new collection of scholarly articles, which is undoubtedly superior to Paper Empires: A History of the Book in Australia 1946– 2005 (2006), the HOBA volume that dealt inter alia with contemporary publishing. Making Books: Contemporary Australian Publishing is less impressionistic and more systematic in its approach.