Australian literature

It is fitting that McGahan’s final novel should draw together several of his defining themes, and that he has fashioned those themes into a satisfying slab of genre fiction.

Nothing Maddison recounts is necessarily wrong – but this is a book whose readership is either blak and knows the contents intimately, or is a particular kind of white for whom this is intellectual tourism into our alleged dysfunction.

Josephine Rowe’s stories are about time. Time as it is lived and as it is recounted; the way it doesn’t just progress, but speeds and slows, persists and lingers.

Sakr is searching for a poetics that emerges from a wound, from an injury or injuries that draw blood. But as the man ‘who knows his history’ reveals, the poetry Sakr is after is eternally in his blood, signalling blood’s association with tradition, inheritance, and identity.

Now that I have children, the consequences of living under patriarchy are starting to make themselves known to me in ways that are not theoretical.

Serialised in 1909-1010, The Poison of Polygamy by Wong Shee Ping is the first novel of the Chinese Australian experience. It recounts the story of a man from southern China who tries his luck on the Victorian goldfields.

Wood’s writing continues to grow in assurance which each new work: never fussy, but grounded, and intensely physical.

There is no place like home because home is not actually a place.

This image of a woman observed in public, her distraction a sign that she is somewhere else, too, is one that arises again and again in texts that have women contemplate the minds of other women.

The Middle Parts of Fortune is a novel that enables us to understand the bodily, material, and phenomenological aspects of war. It belongs to the age of literary modernism, yet its language and style owed much to Manning’s classicist tastes.