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There are few times we use words related to what we throw away in any sort of positive manner; if, for example, this weren’t a nuanced, careful book, I might call it trash. Certainly, one might refer to, say, a crime novel or a Jerry Bruckheimer film as ‘trash’, but mean it with love and affection, and ‘wasted’ or ‘trashed’ are words used with affection and some pride by people when referring to drug-fuelled exploits. In general, though, we use such words – trash, junk, garbage, waste, rubbish – in a pejorative sense, and it is this sense of waste that Hawkins wants to challenge and complicate in this brief study.

In the late twentieth century, museums throughout the world faced a number of challenges. Confronted with a plethora of flashy new technologies, they struggled to overcome a perception of irrelevance and fustiness. Bureaucrats demanded that museums pay their way, entertain the masses, and meet the growing expectations for instant gratification and information without effort.

The first official postage stamps of a British colony were produced on the small island of Mauritius. In 1847, seven years after Rowland Hill’s ‘Penny Black’, the Mauritian postmaster issued 500 orange-red one penny stamps and 500 blue twopence stamps. In size, shape and design, they are utterly conventional. Depicting Queen Victoria in profile, they lack the charm of the 1850 ‘Sydney Views’ stamps of New South Wales or the peculiarity of the 1854 ‘Inverted Swan’ of Western Australia. They are, however, inscribed ‘Post Office’, whereas all later stamps are inscribed ‘Post Paid’. They are instantly recognisable and ever since the 1860s, when philately first became respectable, they have been sought and prized by kings, schoolboys and other collectors.

‘Westering’ is a resonant archaism which makes a wittily ironic title for Peter Kirkpatrick’s new volume. This is work which has a decidedly début du siècle flavour in its hard-edged urban perspective on ‘out west’. The dialectic of city/bush, with its history from Henry Lawson and Banjo Paterson to Les Murray, is voiced in several registers through these finely crafted and sharply literate poems.

These are the final lines of a poem entitled ‘Endings 111’ in Tom Shapcott’s recently published collection of poetry, The City of Empty Rooms. The poem is included in the final two sections of the book devoted to memories of a Queensland childhood, more particularly recollections of growing up in the inland town of Ipswich. As David Malouf suggests in the blurb, ‘this is a late book that sometimes sharply, sometimes forgivingly looks back, but always with the freshness of things felt and seen anew in a living present’.

I recently went back to New England. It is a long drive from Melbourne, but as I passed through Coonabarabran and Tamworth and began the ascent up the Moonbi Ranges, my gaze responded to the strange and familiar landscape. I periodically wound down the car window to smell the air – crisp but still warm for autumn. I grew up in a few different New England towns – Inverell, Glen Innes, Armidale – so I am familiar with the territory covered in the fascinating essays in High Lean Country. The high elevation of the Tableland makes the winters cold, summers mild. The dramatic landscape is dotted with granite mounds and monoliths. It is edged to the east by the escarpment and the gorge country of Judith Wright’s poems.

At about the time that he was preparing the final drafts of The Waste Land, T.S. Eliot was preoccupied by a separate, but no less overwhelming question: when to sell his shares in the Hydraulic-Press Brick Company. In October 1922, the month the poem was published in the periodical he edited, the Criterion, Eliot wrote to his brother, Henry: ‘For myself, the important point is that Hydraulic should rise and give me an opportunity to sell when Sterling is low: it looks as if Sterling might fall a few points before very long. Do you think that Hydraulic will continue to pay dividends for the next year or so?’

When Irène Némirovsky’s Suite Française was first published in France in 2004, it created extraordinary interest for at least three reasons. Firstly, there was the story of the survival of the manuscript, preserved in an unopened suitcase for almost sixty years by Némirovsky’s daughters, Elisabeth and Denise, who had assumed that the papers in their possession were personal notes that would be too painful for them to read. Secondly, there was the documentation, provided in Myriam Anissimov’s preface and in a rich appendix, about Némirovsky’s life as an identified foreign Jew under Nazi occupation. Arrested in July 1942, interned in the Pithiviers camp, and deported almost immediately to Auschwitz, she died barely a month after her arrest, even as her husband and friends, ignorant of her fate, tried frenetically to save her. Finally, there was the novel itself, or rather, the two completed sections of what was intended to be a five-part epic narrative: a brilliantly rendered fresco of the French collapse in 1940 and the first years of German occupation, which earned Némirovsky, posthumously, the unparalleled honour of the prestigious Renaudot prize. With the English translation of the novel in 2006, she became an international celebrity. A Némirovsky biography, therefore, could hardly be more timely.