Articles

  • 2 months ago | overland.org.au | Karen Wyld |Scott Robinson |John Kinsella

    Shortly after Europeans bumped into the southern continent that they’d been mythicising with fantastical drawings in the large blank section on their maps, fantastical white tales were penned. Centuries later, authors are still writing fiction that mythologises and dehumanises Aboriginal and Torres Strait Islander peoples, and too many of these works are being published in Australia and beyond.

  • Dec 19, 2024 | overland.org.au | Scott Robinson

    “Can anything be done?”“So much can be done,” I say. “But everything would have to be different.”— Joy Williams, “The Country”Royce Kurmelovs’ Slick: Australia’s Toxic Relationship with Big Oil (UQP, 2024) builds a picture of the influence of oil money in Australian politics that combines the naïve frustration and despairing sense of being cornered evoked by Williams’ dialogue.

  • Oct 17, 2024 | thesun.co.uk | Scott Robinson

    LIKE Liam, I became famous in the blink of an eye, and know first-hand how lonely you can feel in a boyband. Within ten days of auditioning for Five, I’d left my family home for a house in Surrey and gave one person, my now-wife Kerry, my phone number. I couldn’t even tell her where I was moving to. That same year, in 1997, our first single Slam Dunk (Da Funk) was in the top 10. Life changed for us instantly. Liam said the only safe place for him was to be locked in his room where there’s a mini-bar.

  • Sep 11, 2024 | overland.org.au | Liam Blackford |Scott Robinson |Jon Piccini

    Holden Sheppard’s Invisible Boys — lately in the news for its TV adaptation on Stan — is an imperfect but extremely entertaining novel that deserves its success. I argue that it is a canonically important work of Australian gay literature, a monument of eroticised and anxious masculinity belonging to a legacy including titles such as Christos Tsiolkas’ Loaded and Barracuda, or Tim Winton’s Breath.

  • Apr 1, 2024 | artlink.com.au | Scott Robinson

    How not to care about ecology Like an enveloping atmosphere, ecology has become a dominant framework for contemporary art. In parallel, criticism has assumed the task of interpreting and re-interpreting art and its history for the ecological moment. Despite its near-imperialistic tendency to redefine the meaning of art works in ecological terms, the use of ‘ecology’ as a framework often precludes critical analysis rather than invites it.

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