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The Australian Year looks like the dreaded coffee table book, yet another gloss on the national ‘identity’, backed by Esso, and fit for export only. Certainly, the cover picture of parroty water gives that impression, as do many familiar ones inside, though the main photographer, Peter Solness, does turn in some good homely details as well. Generally, the photographs stand like an avenue of plane trees, their density and hues changing with the seasons of Les Murray’s fully ripened, free-ranging text – which meets the high expectations we might be forgiven for holding when a major Australian poet, a well-versed country boy and populist by persuasion, an erudite and vernacular singer of the old and new, writes a book on a phenomenon as democratically inclusive and resonant as the seasons.

Kylie Tennant hasn’t taken the task of telling the story of her life seriously – and that is one of the real pleasures of this rough and ready autobiography. Her ten novels and many short stories, as well as being piercingly accurate social documentaries, are carefully constructed to work as good yarns should. But Tennant’s autobiography is not well put together. It reads as if she is nattering with a friend and laughing at herself a lot. She rambles a bit, avoids any semblance of self-analysis, is engagingly matter-of-fact about her achievements and her failings.

Patrick White is a downy old bird. He has always shown remarkable ability to keep up with the game, even to keep ahead of it. Whether the game is currently being called Modernism, or Postmodernism, or some other ismatic title, he can handle it as a writer and still be himself. From The Aunt’s Story to The Twyborn Affair, he has displayed this ability to run with the hare and hunt with the hounds, to go in with the ferrets and also come out with the rabbits. In other words, of all Australian writers he most convincingly builds a bridge between what critics ask for and what readers want.

The everlasting dance of sounds and feelings and colours, the taste and scent of life, comes to us in its most explicit form in words. Even when Proust’s famous Madeleine led him back through its scents and associations in search of a time that was lost, he followed its tracks through words that brought back the images of the past and tied them down into clear grammatical patterns of form and relationship. Because language teaches us how to think and feel and see it is always political. The speaker and the writer impose on us patterns which either reinforce or subvert established power. It is no accident that a failed conservative businessman and politician has been able to recover his fortunes by writing a political thriller, or that Mrs Thatcher has now engaged him on the task of selling her politics of destruction to a wary electorate. The words create the reality.

Greg Chappell’s cricketing career from the mid-sixties until 1984 coincided with developments affecting players, administrators and audiences which reoriented attitudes and expectations, causing schisms and bitterness. McGregor’s biography stresses three related themes: the growth of professionalism, the effects of commercialism and especially colour television, and the difficulties in a cricketer’s life caused by conflicting allegiances, and personal and family considerations. A fourth theme, the ascendancy of speed bowling, gets due attention, but more incidentally. It is a conscientious book: Chappell’s early life and the arc of his superb career are followed carefully, comprehensively, informatively, but too often a false note of the ‘excitement’ of it all is journalistically struck.

It is impossible to know who first said, ‘Get your end in!’ but that is probably the only normal colloquialism of ours left out of this beaut (if you’ve got about forty bucks) book.

Clearly, G. A. Wilkes has had his end in; we all have, haven’t we? But Australia’s greatest saying is not included. Perhaps it is Welsh.

I’m buggered if I could have summoned up the bloody patience to wade through valleys and dusty quagmires of books, newspapers, dead pamphlets, had-the-gong magazines and no-longer-with-us snippets, fragments, skerricks and dust of deceased smartarsedom.

The history of Australia at war has tended to focus on the exploits of the Australian army to the neglect of the other two services. It is usually forgotten, for example, that the most famous of Australia’s military actions, that at Gallipoli, was part of a combined operation, in which the failure to land the troops at the designated spot virtually condemned the attack from the outset. In both world wars, command of the sea was the prerequisite for Australia’s military participation and for her own security. Far removed from the main theatres in World War I, Australian forces had to be transported thousands of miles by sea to the Middle East, Gallipoli and the western front. Allied sea power made that possible.