'This paper examines dilemmas of ethics and practice in the author’s co-written Last Days of the Mill (2012). The usefulness of poetry as a tool of social inquiry is considered, both in the immediate context of a dying pulp mill in an industrial town in northern Tasmania, and the wider symbolic import of the mill’s demise within an island wedded to an unrealisable vision of industrial greatness. It is argued that there are forms of knowing in which poetry is far more efficacious than analytical prose, most notably elusive and grounded understandings such as ‘being there-ness’, and the accretion of a vividly storied mindscape expressed through the spoken word. The paper then considers the injunction of the Canadian poet, Robert Bringhurst – that ‘when he sees his people destroying the world, the poet can say, “we’re destroying the world”. He can say it in narrative or lyric or dramatic or meditative form, tragic or ironic form, short or long form . . . But he cannot lie, as a poet . . . ’ The paper argues for a more nuanced and inclusivist ethic, even when, technically speaking, this requires an act of dissimulation on the part of the poet. ' (Publication abstract)

'Alexis Wright’s novel, The Swan Book (2013), set one hundred years in the future on a climate-changed Earth, introduces a new note into her fiction: that of doubt about hope. Extending postcolonial discussions of Wright’s fiction, this essay uses ecocriticism to consider Country and climate change in this novel. It argues that the element of doubt about hope, of despair even, evident in The Swan Book derives from the fact that for the first time in Wright’s fiction the essence of the land—Country—has been altered, by anthropogenically-caused climate change. Drawing on the work of ecocritics Timothy Clark and Adam Trexler, the essay argues that to engage with climate change Wright has introduced formal innovations in her novel; and more overtly figured Western culture in terms of its global manifestation, that is, as Christianity conflated with capitalism. I argue that The Swan Book writes a book of Country into the Christian and other stories of the planet, telling a new story of the earth for an age of climate change.' (Publication abstract)

'In this essay, I comment on two histories of animal farming in Australia in an ecocritical reading of several works of Australian literature: Tim Winton’s novel Shallows (1984), Susan Hawthorne’s collection of poetry, Cow (2011) and Francesca Rendle-Short’s novel Bite Your Tongue (2011). The first of those histories, the background of Shallows, refers to the whaling industry that operated in Western Australian waters up through the 1970s and the growing public awareness of that industry that eventually drove it to a halt in 1978, the year the main events of the novel take place. Cow and Bite Your Tongue, the texts that I mostly discuss, carry references to the history of industrial farming of cows in Australia, which, along with the industrial farming of other domesticated animal species, exploded after 1970 (in Australia and elsewhere in urban-industrialising countries), the same decade when Australians were beginning to rally behind animal rights activists’ opposition to whale slaughter. Today, almost half a century later, animal advocacy activists continue to raise pressing questions about animal species that are industrially farmed. They are doing so at the same time as the meat industry is attempting to restrict public access to and information about its operations. I address those questions in my reading of Hawthorne’s paean to cows and Rendle-Short’s references to the Moral Right movement in Queensland in the 1970s and attempts by its supporters to remove works of literature from school book shelves.' (Publication abstract)