A timeless collection of stories exploring physical and psychological boundaries, some tentatively and others with vigor. In The Americans, Baby the milieu is a Sydney under-40 population who, hoping that being earnest or outrageous will make them feel real, are left saturated with anxiety instead. An inherent resistance to American cultural intrusions and the risks that those from a great powerful land such as the US take when they meddle in another culture (they can be snared, seduced, destroyed) are explored with traditional Moorhouse flair and wit. These stories are timeless in their concerns, and explore ideology, idealism, conflict, relationships and sex.(Source: Google Books website).
'In November 2016, the Australian Productivity Commission (PC) released a report proposing a ‘fair use exception to replace the current system of fair dealing exceptions’ (ACC 1) in the Australian Copyright Act 1968. The Commission’s recommendation supported the Australian Legal Reform Commission’s (ALRC) findings in its 2013 report ‘Copyright and the Digital Economy’, which stated that a flexible fair use provision would ‘“enable the Act to adapt to changing technologies and uses without the need for legislative intervention”’ (ALRC 95). In the event that a fair use exception is not viable, the ALRC also proposed an alternative ‘new fair dealing’ exception, to broaden the doctrine’s purposes for educational institutions and commercial organisations.' (Introduction)
'This chapter focuses on the period from the mid-1970s to the late 1980s, a watershed period in Australia-US literary relations, which saw the publication in the US of Australian novelists Peter Carey, David Malouf, Jessica Anderson, Thea Astley, Elizabeth Jolley, Helen Garner, Tim Winton and Beverley Farmer among others, but which was also crossed by tensions and contradictions which led to confusion, disappointment, lost opportunities, and sometimes the outright rejection of important Australian authors and their books. Among these tensions, we look at three in particular: the promising but limited role played by the multinational publisher (in this case Penguin Books) offering Australian titles through its US affiliate (Viking Penguin); the intervention by literary agents in Australia - US literary publishing relations; and the difference in values between the two cultures, which served to hinder the appreciation of important works of Australian writing.' (p. 309)