Recent events in Mexico’s drug war could easily have been depicted in Don Winslow’s twin novels The Power of the Dog and The Cartel. Drug war capitalism is, at times, stranger than fiction.
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The book prize is the publisher’s answer to the persistent grumble that fiction is in its death throes; an attempt to combat the perceived threat of the digital.
When most people think of book censorship, they imagine political regimes and potentially book burning in Nazi Germany. What is little considered is that most books that have been challenged or banned are books for young people.
Pratchett’s work is often classified as ‘genre fiction’ rather than literary fiction. Yet his relationship with genre is complex and adversarial. He sets genre stereotypes up to be deconstructed.
David Attwell’s new book is the first extended investigation of the South African author composed since the recently-opened Coetzee archive at the University of Texas. So what does it teach us?
Framing younger writers’ work within the footsteps of giants is always fraught with risk; the risk of shadowing the merits and faults of the former in an attempt to assess the legacy of the latter.
More than a dozen political memoirs were published in Australia last year. Does that make us a nation of political junkies? If not, why so many books and what do they contribute to cultural debate?
This adaptation not only departs from the original text, but also reinforces precisely the traditional values that Lawrence was trying to unpick.
Italian novelist Elena Ferrante has been called “one of the great novelists of our time” and her Neapolitan novel cycle “an unconditional masterpiece”. But the author herself remains an intangible figure.
Yoga fiction is a burgeoning genre of books that tell tales of spiritual enlightenment through an ancient Indian practice. But what happens when such practices are severed from their cultural roots?
As individuals, we are driven by thoughts of success, so it makes sense that failure might make us feel slightly uneasy. And yet failure – and what that means in writing – is having a moment.
Sacks was able to communicate the fascinating workings of the brain in ways that evoked understanding and compassion.
‘I knew and counted Terry among my friends, and I watched Alzheimer’s slowly and insidiously strip him of attributes and faculty.’ So what can we make of his final Discworld novel, published posthumously?
The flop of the Fantastic Four seems to suggest that viewers are more eager to embrace characters who reflect our inherently flawed humanity.
Debate about the lack of diversity in young adult literature isn’t new, but thanks to recent campaigns such as We Need Diverse Books, there’s renewed focus on why diversity in literature is crucial.
At events such as the Melbourne Writers Festival, it’s hard to avoid noticing that science, and scientists, are receiving special billing. The reading list of this Nobel Laureate is instructive.
Arab-Australian identity is not some singular, homogeneous label. Rather it exists as a spectrum and contains more complexity and diversity than the mainstream media allow.
They’re rude, crude and uncouth. So what makes farts so funny?
John Hersey’s article Hiroshima (1946) is seminal in historical and literary terms: the shocking realities of the atomic bomb demanded a new way of writing.
Hollywood has kept its distance from the bombing of Hiroshima, 70 years ago, and novelists, aside from sci-fi authors, have largely ignored the catastrophe as a means of exploring human nature. Why?
Principales colaboradores
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Associate Professor in Literary Studies, Monash University
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Associate Professor in Media, University of Notre Dame Australia
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Executive Dean (interim) Faculty of Arts and Design, University of Canberra
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Lecturer, School of Design, University of Technology Sydney
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Professor, Chair of Australian Literature, The University of Western Australia
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Honorary Fellow of the School of Languages and Linguistics, The University of Melbourne
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Visiting Fellow, Centre for Cultural and Creative Research, University of Canberra, University of Canberra
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Senior Lecturer, Literature and Gender Studies, Victoria University
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Lecturer in Digital Arts & Humanities, University College Cork
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Emeritus Professor of Australian Literature, University of Sydney
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Professor of English, Institute for Humanities and Social Sciences, ACU, Australian Catholic University
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Lecturer in Contemporary Literature, La Trobe University
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Professor, School of Culture and Communication, The University of Melbourne
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Associate Professor, School of Languages, Literatures, Cultures and Linguistics and Fellow of the Australian Academy of Humanities, Monash University
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Visiting Professor, University of Technology Sydney
