AustLit

'Last year I turned eighty. Vacillating between denial and celebration, I decided, with some trepidation, on the latter. It was thirty years since I had last had a big birthday party: this one needed to be special. I consoled myself that, old as I am, I am still younger than the president of the United States, Mick Jagger, and the pope.' (Introduction)

(Introduction)

'It is 1992, the year of the Mabo judgment, and Helen, a scholarship student from Tasmania, is undertaking a PhD at Cambridge, writing a thesis titled ‘Cryptomodernism and Empire’. It is on Joseph Conrad, a writer about whom her peers are contemptuous. Helen is dealing with a forlorn and dismissive supervisor, and the disappointment that her experience abroad was not what she had expected. Her ‘fantasy of vigorous literary talk, multisyllabic and theoretical, was soon defeated’.' (Introduction)

(Introduction)

'Ida, a secondary school teacher in Melbourne with a four-year-old daughter, Aster, in childcare, lives in a post-Covid world of masks, mindfulness apps, remote learning, and video calls. Recently relocated from New Zealand when her partner, a lecturer in Cultural Studies, is offered a more prestigious job at an Australian university, she has relinquished the possibility of continuing her own academic career. He seems unwilling to share household tasks or help to tend to their child, despite the fact that they are both working, and distances himself by immersing himself in his study and going on long runs. In the opening passage, we are presented with Ida’s childhood memory of being on a beach, where she pretends that she knows how to swim – or rather, that she has learned ‘how not to drown’ – which now seems an apt metaphor for her marriage.' (Introduction)

'‘The personal is political’ is an axiom that has become ubiquitous. Normally used within the context of feminist activism, in Yumna Kassab’s latest novel – for which it serves as the epigraph – it is a reminder of the human sacrifice of war and how every part of a civilian’s life reflects its surroundings.' (Introduction)

'Andrew Leigh is the Assistant Minister for Competition, Charities, Treasury and Employment, and Federal Member for Fenner in the ACT. Prior to being elected in 2010, Andrew was a professor of economics at the Australian National University. He holds a PhD in Public Policy from Harvard. His books include Battlers and Billionaires: The story of inequality in Australia (2013), Randomistas: How radical researchers changed our world (2018), and The Shortest History of Economics (2024). Andrew is a keen triathlete and marathon runner, and hosts a podcast called The Good Life: Andrew Leigh in Conversation, about living a happier, healthier, and more ethical life.' (Introduction)

With a title like Ghosts of Paradise, it is no surprise that Stephen Edgar’s latest poetry collection is haunted by loss, mutability, and mortality – the great traditional themes of elegiac poetry. But Edgar’s poetry has long, if not always, been characteristically elegiac. In this new collection, Edgar’s first since winning the Prime Minister’s Award for poetry in 2021 (and his first for Pitt Street Poetry), the poems are haunted by the poet’s late parents, late fellow poets (especially W.B. Yeats, but also the Australian poet Robert Adamson, for whom there is an elegy), and ancient poetic forms, such as the sonnet. The collection also includes meditations on ageing, corpses, and photographs (including Roland Barthes’ ‘theory / That every photo is a memento mori’).' (Introduction)

'Professor Anna Goldsworthy is Director of the Elder Conservatorium of Music at the University of Adelaide, and an award-winning pianist, writer, and festival director. She co-founded the Seraphim Trio in 1995. Her books include the memoir Piano Lessons (2009) and a novel, Melting Moments (2020). Anna has directed numerous music festivals, and in April 2024, will direct the Music and Mountains Festival in Queenstown, New Zealand.' (Introduction)