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Contemporary Australian fiction, like Australian film, is known more for its exuberance and antic energy than its reticence and restraint. Deborah Robertson’s Careless, a first novel that has already won her acclaim in her own country, is a marvellous correction to the stereotype. Robertson’s ingredients are simple, but disparate: right to the end, one is not quite sure how they are going to combine. This uncertainty gives the novel an intricate atmosphere of floating suspense. In a moment of murderous rage and insanity, a man drives his truck into a children’s playgroup. Among those killed is the young son of Lily, a neglectful single mother. His older sister, Pearl, survives, and much of the novel is concerned with how Pearl comes to terms with what has happened.

The best personal account of tank warfare in the Western Desert is generally reckoned to be Alamein to Zem Zem by Keith Douglas. It is indeed a great book, telling in spare, sensitive, limpid prose how it feels to turn from being a young man with romantic illusions about the nobility of war into a batttle-hardened tank veteran. But because it was written by an upper-class poet there are some elements that are missing. For example, Douglas never mentions how you can tell if a soldier on leave has been involved in a tank battle: for days afterwards, thanks to the constant inhalation of shell fumes in a confined space, he will fart the smell of cordite.

‘Why is no one talking about what is happening in our country?’ demands the splash across the front cover of the latest book by George Walden. It is therefore something of a surprise in the pages that follow to find the former Conservative minister discoursing at length on the problems of immigration, terrorism, crime and house prices — all familiar mainstays of the modern conversational canon. To be fair, it is Walden’s contention that these are but contributing factors to a national malaise manifesting itself in the under-reported fact that so many Britons want to leave the country of their birth. What is more, it is not our cleaners, plumbers and fruit-pickers who are throwing in the towel in the face of cut-throat competition from the Polish diaspora.

Stand in the Corinthian portico of the National Gallery’s main building and look due south beyond Nelson’s Column into Whitehall. Your gaze lights upon Hubert Le Sueur’s Baroque equestrian statue of King Charles I, and if your eyesight is especially keen, you might just glimpse a projecting corner of Inigo Jones’s Banqueting Hall. In this trio of eye-catchers lies the fons et origo of our national collection, at least according to Jonathan Conlin in the opening pages of The Nation’s Mantelpiece. For scarcely had Charles stepped out from the Banqueting Hall for his beheading in 1649 than his stupendous assemblage of pictures, with its Raphaels, Titians and Mantegnas, was broken up and sold.

Asked by a journalist whether he went to the opera, John Cage replied, ‘No, I listen to the traffic.’ The remark, often quoted, was less sententious than this abbreviated form would imply. Typically Cage, more interested in communicating than teasing despite his reputation as one of the funniest conversationalists, continued with an explanation: ‘I live in the Sixth Avenue area in New York, and there is lots of noise there. That is my music.’ Ever the pioneer, Cage (1912-92) influenced a generation of composers and artists inspired by his experimentalism. Everything he did was new. Most was little understood at the time outside his immediate circle. He used chance, via the I Ching, and electronics.

This is the fourth of Fred Vargas’s crime thrillers to be published in English — the third, The Three Evangelists, won last year’s inaugural Duncan Lawrie Dagger for translated crime fiction. Vargas is the pseudonym of a French archaeologist and historian. Don’t let the ‘Fred’ mislead you about her gender. Wash This Blood Clean From My Hands features Vargas’s series hero Commissaire Adamsberg, a Parisian detective who puts intuition above logic and evidence, and who blunders through his investigations with a blend of obstinacy and integrity. The novel opens with him in the grip of mysterious terrors. Eventually Adamsberg attributes his mental state to the news that a woman’s body has been discovered near Strasbourg.

J. B. Morton, a bluff Old Harrovian survivor of the Somme, succeeded his fellow Bellocian Roman Catholic convert D. B. Wyndham Lewis (‘the wrong Wyndham Lewis’, according to the tiresome Sitwells) as ‘Beachcomber’ in 1924 and wrote the ‘By the Way’ column in the Daily Express for more than 50 years. He eventually signed off in 1975, aged 82, and died four years later. To Morton and Wyndham Lewis (who later became ‘Timothy Shy’ on the lamented News Chronicle) we must give thanks for introducing to newspapers what Michael Frayn, editor of The Best of Beachcomber, described as ‘the superb anarchy of the English nonsense-writing tradition, the brief, devastating parody and the permanent stuff of characters’.

‘Walter Scott is unjust towards love; there is no force or colour in his account of it, no energy. One can see that he has studied it in books and not in his own heart.’ That was Stendhal’s opinion, and many even of Scott’s most devoted readers would not dissent from it. Dialogues between his young lovers are, to put it mildly, rarely satisfactory. The idea of his young heroines may be pleasing. One can understand why Victorian schoolboys are said to have fallen in love with Diana Vernon in Rob Roy; she is beautiful, lively and resourceful, a fine horsewoman and gallant Jacobite.

In Alan Furst’s nine novels, it always seems to be twilight. The second world war is being fought off-stage, or, as in The Foreign Correspondent, approaching with grim inevitability. Furst’s world is one of railway stations filled with steam, dark cafés filled with smoke, lonely hotel rooms filled with apprehension. It is populated by exiles and fixers, journalists and spies, police and politicians, honest, corrupt, or a bit of both. Business is transacted in four languages at once, five if lying counts as a separate tongue. The characters might have wandered in from films, Hollywood noirs shot by German expressionists, French gangster flicks starring Jean Gabin, or black and white Hitchcock.

Who is the greatest male film star of all time? Marlon Brando, Cary Grant, Hum- phrey Bogart, Clark Gable and Al Pacino are all contenders and each in his time has topped at least one poll. But my vote would go to James Stewart (or the more familiar ‘Jimmy’, as his biographer, Marc Eliot insists on calling him). Compared with other actors whose careers lasted over 30 years, Stewart starred in the largest number of films that were actually good, and, by good, I mean memorable. When Robert Mitchum, who was himself a considerable star, died the some month as Stewart, in 1997, it was hard to recall more than six films he’d been in, whereas one could name a dozen of Stewart’s without difficulty.

‘If ‘justice were done’, writes Norman Davies in this fascinating and infuriating work, ‘all books on the second world war in Europe would devote perhaps three quarters of their contents to the Eastern Front.’ In the real world, of course, the victors dispense the justice and write the history afterwards. So it is gratifying that there is a scholar around with the skill and passion of Norman Davies to change perspectives about the war and shift the centre of gravity eastwards. Here, rather more than 75 per cent of the action takes place in East/Central Europe, where on a body count most of the lives were lost and on a misery index the greatest suffering took place.