Briohny Doyle’s ‘Adult Fantasy’ looks at the increasingly blurred definition of adulthood in the 21st century
By Marta Skrabacz
Robert Dessaix’s ‘The Pleasures of Leisure’ is a 21st-century defence of idleness
By Helen Elliott
On Cory Taylor and her classic novel
By Benjamin Law
Bloomsbury; $18.99
By Stephanie Bishop
Black Inc.; $29.99
By Frank Bongiorno
Australia’s Tracey Moffatt leads the way at the 57th Venice Biennale
By Julie Ewington
Arundhati Roy’s ‘The Ministry of Utmost Happiness’ was worth the 20-year wait
By Helen Elliott
Laura Poitras’ ‘Risk’ sidesteps the biggest question about Julian Assange
By Robert Manne
Jennifer Peedom’s ‘Mountain’ is a meditation on the allure of the climb
By Sebastian Smee
With their two new other-worldly albums, Shabazz Palaces continue to evade categorisation
By Anwen Crawford
Image of Yarrkalpa – Hunting Ground, Parnngurr Area, 2013
Mapping and minding shared lands
By Kim Mahood
Venezuela’s Simón Bolívar String Quartet meet some of Melbourne’s youngest musicians
By Chloe Hooper
Meet the team behind the Macquarie Dictionary
By Darryn King
Image of Lorde
The return of Lorde, Frank Ocean and Radiohead live in Denmark, ‘OK Computer’ at 20, and more
By Anwen Crawford
Álvaro Enrigue’s ‘Sudden Death’ and the nonfiction future of fiction
By Matthew Clayfield
With each season, ‘Better Call Saul’ feels more like a corrective to ‘Breaking Bad’
By Adam Rivett
Director Bong Joon-ho on ‘Okja’, Netflix and the new cinema model
By Luke Goodsell
Malthouse Theatre’s ‘Revolt. She Said. Revolt Again.’ is an exciting but nihilistic condemnation of how contemporary feminism has been derailed
By Alison Croggon