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Just over a decade ago, Ross McMullin published Farewell, Dear People (2012), a magisterial biography of ten remarkable Australians killed in World War I. The book met with much acclaim, including the award of the Prime Minister’s Prize for Australian History in 2013. Life So Full of Promise, a sequel to this volume, provides three more biographies of men whose early lives suggested that they would have made extraordinary contributions to Australian public life, had they survived the war.

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Luck has always been a potent force in politics, good and bad, but for Scott Morrison, Australia’s thirtieth prime minister, it almost single-handedly drove his unheralded ascent. 

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Since crossing paths nearly two decades ago, Barack Obama and Joe Biden have forged one of the more potent partnerships in modern American politics – winning three of the last four presidential elections between them – and have built an enduring friendship. It is all the more remarkable for its rarity. The pressures of the White House, overlapping ambitions, and competing loyalties have soured the relationship between most presidents and their deputies (think of Richard Nixon’s notorious bitterness towards Dwight Eisenhower or the froideur between Al Gore and Bill Clinton). 

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Maps are central to Kim Mahood’s practice as a writer, artist, and intercultural collaborator. She began making them in the wake of her father’s death in a helicopter mustering accident thirty years ago. This tragic event compelled her to make a pilgrimage to the country where she spent her late childhood and teenage years living on Mongrel Downs cattle station in the Tanami Desert. This journey became the subject of her award-winning memoir, Craft for a Dry Lake (2001). This journey set in motion a renewed relationship with the place that has seen her return to the Tanami annually for more than twenty years. The relationships that developed during this period resulted in Mahood’s longstanding preoccupation with maps and mapmaking developing into collaborative mapping projects with Walmajarri and Jaru peoples, the contours of which she traces in her second book Position Doubtful: Mapping landscapes and memories (2016).

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Stone Fruit by Lee Lai & Men I Trust by Tommi Parrish

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December 2022, no. 449

The covers of comic books/graphic novels/sequential narratives, call them what you will, have a fundamentally different relationship to the contents of their books than the covers of ‘ordinary’, text-only works. For the latter, the cover image is usually produced by a designer whom the author does not know and may never meet. In the case of comics, however, the cover image is made by the same hand that creates the images that proliferate within the book. The cover of a text-only book is communicating a sense of what the book is like through the totally different language of images. For the browser, that’s like trying to decide whether to attend a concert on the strength of a billposter. With a comic book, the sort of thing you see on the cover is the sort of thing you get inside. A comic book begins before you even open it. Basically, you can judge a comic book by its cover.

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Lee's Law by Chris Lydgate & The Mahathir Legacy by Ian Stewart

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April 2003, no. 250

Singapore and Malaysia have a lot in common beyond a shared border and a shared colonial heritage. Both countries have been dominated for decades by one strong leader – Lee Kuan Yew in Singapore, Dr Mahathir Mohamad in Malaysia. Both have a weak Opposition and a muzzled media. Both have an internal security act inherited from the British, and which is used to detain people without trial. In both countries, the common law system has been bent into ugly new shapes to silence dissent. Each of these books traces the fate of a man who dared to challenge the leader but failed, crushed by an adversary with superior tactics, greater political strength, and, above all, more sway in the courts.

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A purveyor of second-hand literature-cum-reluctant sleuth is an attractive proposition. We first met Jack Susko in Lenny Bartulin’s first novel, A Deadly Business (2008). Susko, a one-time employee of the notorious Ziggy Brandt, had finally established a legitimate (albeit struggling) business, Susko Books. Rarely troubled by customers, Susko was entertained by the music of Miles Davis and Muddy Waters, and alcohol. 

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On 15 September 2021, Scott Morrison announced his government’s commitment to a defence pact and nuclear submarine deal with the United Kingdom and United States. Abbreviated to AUKUS, this collaboration sent shockwaves through ranks of diplomats, security analysts, anti-nuclear advocates, and members of the Australian public. In signing the AUKUS pact, Morrison signalled Australia’s termination of a $90 billion submarine deal with the French government and reignited concern over Australia’s role in fuelling nuclear proliferation and potential conflict. Drawing upon ‘insider’ knowledge as a former diplomat, Richard Broinowski has contributed to the discussion by placing AUKUS in its historical context in an updated edition of his book Fact or Fission? The truth about Australia’s nuclear ambitions, originally published in 2003.

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In 1968, Barry Jones edited, and contributed to, the first edition of The Penalty Is Death. The book was produced in the immediate aftermath of the execution of Ronald Ryan in Victoria in February 1967, and in the context of vigorous debates in Australia and other Western countries as to the retention of the death penalty. The second edition, published to commemorate the hundredth anniversary of the abolition of the death penalty in Queensland, arrives in a very different world. A majority of countries are now either abolitionist in law, or have in place an express or de facto moratorium against execution.

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Marlo by Jay Carmichael & My Heart Is a Little Wild Thing by Nigel Featherstone

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August 2022, no. 445

At first glance, neither Marlo nor My Heart Is a Little Wild Thing seemed particularly appealing. Both focus on queer men pining for love in a homophobic world. Both appeared to recycle what Jay Carmichael (Marlo’s author) calls ‘the tradition of tragedy in queer literature’. Digging deeper, we find that the novels offer nuanced and even uplifting perspectives on gay male experience over the decades. There are moments of adversity, but it’s the resilience and emotional strength of the protagonists – their ability to find pleasure in even dire situations – that make both books so compelling.

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