Privately commissioned histories are a strange literary beast. In MUP: A Centenary History, Stuart Kells does a fine job, but doesn’t quite resolve the matter of maintaining authorial independence.
Author Anthony Horowitz felt “hurt” when advised by a sensitivity reader on his representation of a Native American character.
What is the responsibility of the publisher – and the many readers hungry for trauma memoirs – towards the authors who re-live their trauma to write their books? Some are calling for a new approach.
Our research team tracked the impact of Dark Emu, Bruce Pascoe’s bestseller, over five years. We measured its value across a range of criteria, from financial to environmental.
A romance writer’s bizarre fake death has gone viral. That her being alive stayed undetected for 2.5 years reminds us that our online and published personas are still separate from real life.
Candice Carty-Williams’ Queenie navigates dating as a Black woman, living in a Black body, and what it’s like to straddle two cultures while never really feeling as though you fit.
A new survey of Australian authors finds that while author incomes have (very slightly) grown, they remain perilously low – which makes it hard to find time to write.
What are the consequences of book publishing’s invisible workforce – for respect, wages and diversity? Alice Grundy suggests it’s time for book editors to be more visible.
Clive Hamilton’s memoir of 40 years in activism is most of all a narrative of ideas in action. He argues for the power of provocation – and against the left, the right and China.
Four years after its release, My Year of Rest and Relaxation has become a publishing and cultural phenomenon – with TikTok trends and film rights bought by Margot Robbie. But is it exploitative?
The contribution of the book industry to the national economy is substantial, but its importance goes beyond its monetary value.
Some open access journals — those that don’t charge their readers a fee — require that researchers pay to publish with them. Removing author fees helps more researchers to publish their work.
Fewer than 1% of Australian publishing professionals identify as First Nations. We need better representation to authentically represent First Nations voices. Sandra Phillips explains why – and how.
‘Everything is random,’ the Penguin Random House CEO recently told a US court, about how the publishing business works. It all seemed to be a gamble. But is that how it works in Australia?
Fewer than 1% of Australian publishing professionals are First Nations and only 8.5% have an Asian cultural identity.
The former prime minister’s latest book calls on his party to be both liberal and conservative in order to survive.
Wits University Press is one of only 15 active university publishers in Africa – crucial for scholarship about the continent.
Run by a collective of women and covering both the political and personal, Spare Rib was unlike anything before it.
Sensitivity readers are increasingly employed before a book is published, if the author is writing about cultures outside their lived experience. But what exactly do sensitivity readers do?
Two radically inventive new works of Australian graphic nonfiction dig deep into 21st-century life. They balance critique with hopeful possibilities – of collective change and radical acceptance.