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We are never really taught how to make sense of the torrent of news we face every day, writes Alain de Botton (author of the best-selling The Architecture of Happiness), but this has a huge impact on our sense of what matters and of how we should lead our lives. In his dazzling new book, de Botton takes twenty-five archetypal news stories - including an airplane crash, a murder, a celebrity interview and a political scandal - and submits them to unusually intense analysis with a view to helping us navigate our news-soaked age.

Spanning 15 years of work, Everywhere I Look is an audiobook full of unexpected moments, sudden shafts of light, piercing intuition, flashes of anger and incidental humour. It takes us from backstage at the ballet to the trial of a woman for the murder of her newborn baby. It moves effortlessly from the significance of moving house to the pleasure of rereading Pride and Prejudice.

Helen Garner visits the morgue, and goes cruising on a Russian ship. She sees women giving birth, and gets the sack for teaching her students about sex. She attends a school dance and a gun show. She writes about dreaming, about turning 50 and the storm caused by The First Stone. Her story on the murder of the two-year-old Daniel Valerio wins her a Walkley Award.

Pete's dead and Gwennie's life will never be the same. How could Pete, a young, fit man, leave her now? Their lives together were only just beginning. And pneumonia? It was insane, unthinkable, unbearable. Somehow she struggles through the funeral in a daze, and the mysterious mourner in the tight-fitting red dress barely registers in her consciousness. It's only later, when spotting a discrepancy in Pete's tax records, that she begins to wonder. Who was that woman?

This year has seen unprecedented scrutiny of Rupert Murdoch’s empire in Britain. But what about in Australia, where he owns 70 per cent of the press? In Bad News, Robert Manne investigates Murdoch’s lead political voice here, the Australian newspaper, and how it shapes debate.Since 2002, under the editorship of Chris Mitchell, the Australian has come to see itself as judge, jury and would-be executioner of leaders and policies. Is this a dangerous case of power without responsibility?