Poor Fellow My Country is an Australian classic, perhaps THE Australian classic' - The Times Literary Supplement. From Australia's oldest publisher comes the longest Australian novel ever published. The winner of the 1975 Miles Franklin Award is now back in print with a new introduction by Russell McDougall. In Poor Fellow My Country, Xavier Herbert returns to the region made his own in Capricornia: Northern Australia. Ranging over a period of some six years, the story is set during the late 1930s and early 1940s; but it is not so much a tale of this period as Herbert's analysis and indictment of the steps by which we came to the Australia of today. Herbert parallels an intimate personal narrative with a tale of approaching war and the disconnect between modern Australia and its first inhabitants. With enduring portraits of a large cast of local and international characters, Herbert paints a scene of racial, familial and political disparity. He lays bare the paradoxes of this wild land, both old and wise, young and flawed. Winner of the Miles Franklin award on first publication in 1975, Poor Fellow My Country is masterful storytelling, an epic in the truest sense. This is the decisive story of how Australia threw away her chance of becoming a true commonwealth and it is undoubtedly Herbert's supreme contribution to Australian literature. Will we ever reach the dream of 'Australia Felix' - the happy south land?

This ground-breaking first biography explores the contradictions at the core of Xavier Herbert's turbulent life and career (1901-1984). Charting his lifelong quest to discover the reality of his existence and to forge a larger-than-life identity, it highlights Herbert's compulsion to write and illuminates his abiding themes. Labelled at various times "ratbag" and "mug genius" as well as "master writer", Xavier Herbert led a life characterised by controversy and contradiction. His signature books, Capricornia (1938) and Poor Fellow My country (1975), were to change the face of Australian novel writing.

"The result is an engrossing narrative that highlights Herbert's compulsion to write and illuminates his abiding themes, including those related to sex and women. Also included are many photographs, some never before published."--BOOK JACKET.

Often comic, often tragic, Disturbing Element is the story of an Australian literary legend written in his own classic style. Xavier Herbert considers himself the Disturbing Element in the family he claimed never wanted him. Born in 1901 in Western Australia, Herbert grew up amid confusing and sometimes contradictory family legends. Often comic, often tragic, Disturbing Element traces Herbert's life as he changes careers from pharmacist to railway fettler to writer. This is the story of an Australian literary legend written in his own classic style.

'Australia First' is a good slogan that has been adopted by several quite different political ideologies. This book deals with the movement that developed slowly from about 1936 and came to an inglorious end in 1942. It grew out of the Victorian Socialist Party and the Rationalist Association. At first it attracted literary figures such as Xavier Herbert, Eleanor Dark, Miles Franklin. When it became heavily political, among its members were former communists and a Nazi Party member; some worked for the Labor Party, some for the United Australia Party (later the Liberal Party). One was a paid agent of the Japanese. Some were connected with Theosophy, some with Odinism, and in Victoria most were Irish Catholics with links to Archbishop Mannix and Sein Fein. Among their close friends were John Curtin, Dr Evatt, Arthur Calwell, Jack Beasley, Robert Menzies, Percy Spender, Archie Cameron. Several had contacts with Oswald Mosley's British Union of Fascists, and with the Imperial League of Fascists and National Socialists. One had met Hitler and corresponded with General Ludendorff. Two composed and circulated anonymous subversive pamphlets. Others imported Nazi propaganda, one even during the war through the German Consulate-General in New York. At its core was a coterie of elderly men with too much time, too much money, and little common sense. 'Inky' Stephensen was the public face of the AFM and was responsible for the crude and vulgar style of its monthly magazine, the Publicist. But behind it all was Billy Miles, a cynical, arrogant manipulator, who turned it into a vehicle for anti-Semitic propaganda. He who wrote: 'What is the solution to the Jewish question? There can be none while a Jew lives.'Its downfall was precipitated less by its fascist and Nazi tendencies than by its close association with the Japanese. In the end, the internment of AFM adherents was used by both Labor and Liberal politicians as a stick with which to beat each other, until the wrongs and rights of the affair became buried under political abuse.

Alarmed by the increasingly marginal status of Australian literature in the academy, Williamson has set out to reintroduce us to those key writers whose works we may have forgotten or missed altogether. His focus is on fiction that gives pleasure, and he is ardent in defence of books that for whatever reason sit uneasily in the present moment.

Thinking and writing about the past, challenging what 'history' might be and how it could appear is an ongoing interest of this journal and an ongoing (sometimes contentious) point of connection between cultural studies and history. The shifts in how we research and write the past is no simple story of accepted breakthroughs that have become the new norms, nor is it a story where it is easy to identify what the effects of cultural studies thinking on the discipline of history has been. History has provided its own challenges to its own practices in a very robust way, while the cultural studies has challenged what the past is and how it might be rendered from a wide ranging set of ideas and modes of representation that have less to do with specific disciplinary arguments than responses to particular modes (textual, filmic, sonic), particular sites (nations, Indigenous temporalities, sexuality, literature, gender) and perhaps a greater willingness to accentuate the political in the historical.