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The Greek island of Hydra has become known for the colony of expatriate painters and writers that became established there in the 1950s and 60s (Genoni and Dalziell 2018; Goldman 2018). Two 'literary houses,' the homes of several of the island's most well-known foreign residents during that era-the Australian couple, writers George Johnston and Charmian Clift, and Canadian singer-songwriter Leonard Cohen-have become places of pilgrimage for aficionados of Australian literature and popular music. Visitors wend through the maze of car- less, stone-paved lanes, asking for directions along the way, in order to stand outside the objects of their quests. Standing in the small public courtyard in front of the Johnstons' house, or the tight laneway fronting the Cohen house, there is not much to see-the houses are quiet, the doors closed, the stone and white-washed walls surrounding the properties, which are typical of Hydra, are high. This doesn't keep people from coming. They can picture in their minds' eyes what is on the other side of the walls, having seen photographs of the writers at work and leisure inside the houses, and having read the books and listened to the songs that were written while the Johnstons and Cohen were in residence. Just a few days ago (at the time of writing), the international press picked up on an Instagram post by the musical artist Bono, featuring a photograph of himself and his party outside the Hydra house where Cohen had lived and quoting several lines from Cohen's song, 'Bird on a Wire.'

Travels in Post-war Italy Alan Moorehead Wakefield Press, $24.95 AT first, it was hard to discern why Wakefield Press had decided to re-release in Australia a series of American magazine columns written after World War II about a country that has changed vastly since.

All over Australia and New Zealand, images that remind you of those times continue to exist. In one of Melbourne's smart gentlemen's clubs, a huge painting hangs upon one wall. It brilliantly depicts the scene in 1940 when a battalion of the Australian army is marching down Waverley Street en route to the docks and embarkation for the Middle East. [Alan Moorehead]'s famous description of a certain detachment of troops referred specifically to New Zealand soldiers, but it could just as easily have been written to convey the great South African or Australian men who fought with such courage in those times. Moorehead wrote this upon sighting New Zealand troops emerging from a desert campaign. \"They rolled by with their tanks and their guns and armoured cars, the finest troops of their kind in the world, the outflanking experts, the men who had fought the Germans in the desert for two years, the victors of half a dozen pitched battles. They were too gaunt and lean to be handsome, too hard and sinewy to be graceful, too youthful and physical to be complete. But if ever you wished to see the most resilient and practised fighter of the Anglo-Saxon armies, this was he.\"

[Gallipoli], written by Alan Moorehead, is a classic account of a campaign that was flawed from the very beginning. Its aim was to capture the Gallipoli Peninsula in Western

Les Carlyon's superb [GALLIPOLI] is the book that from 2002 has superseded [Alan Moorehead]'s Gallipoli as the definitive account of those 8 1/2 months in 1915, and the part that the Anzacs played in the fighting. Take Moorehead's 1956 description of Gallipoli and its war cemeteries: \"The gardens are more beautiful than ever, yet hardly anyone ever visits them. Except for occasional organised tours, not more than half a dozen visitors arrive from one year's end to the other. Often for months at a time, nothing of any consequence happens. Lizards scuttle about the tombstones in the sunshine and time goes by in an endless dream.\"

New Zealanders often hear only about the fighting that took place around the Anzac Cove area. When this reviewer was privileged to visit the area in 2001, it was this part of [Gallipoli] that the Australian and New Zealand visitors were shown. [Alan Moorehead]'s account covers the whole region. Some parts of the narrative contradict other accounts of the fighting as they have been portrayed since. There is no mention of the lifting of the British pre-attack barrage that made the Lone Pine encounter so costly for the Australians, as portrayed in the film Gallipoli, and the description of the battle for Chunuk Bair makes little comment about the naval friendly fire that allegedly killed many New Zealanders. If you are planning a trip to Gallipoli, read this book then update your knowledge with Chris Pugsley's Gallipoli: The New Zealand Story or, for an Australian point of view, Patrick Carlyon's The Gallipoli Story. Also, take along Ian McGibbon's Gallipoli: A Guide to New Zealand Battlefields and Memorials. - A

This may not be a travel book at all as we now understand the term, but it is about the romance of travel and exploration. The dust cover of my copy, a first edition, has an evocative watercolour of the headwaters of the Nile. The blurb reads: \"Mr [Alan Moorehead] has travelled over all the regions he describes and so has been able to visualise the historic scenes and bring them to life for the reader.\"

An appreciation of the entire Dardanelles Campaign is necessary to fully understand the evolution of U.S. Marine Corps amphibious doctrine, for the study of this campaign was a major step in the development of modern amphibious doctrine. LtCol D. E. Gillum wrote in the Nov67 GAZETTE about the influence of [GALLIPOLI] on later amphibious operations and how the Marine planners did not accept Gallipoli as proof positive of the folly of landing on a defended beach.