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In universities worldwide, English departments teach theory rather than literature, using art to serve ideological ends. But how did this happen, and what is lost when we sacrifice moral and cultural depth to the demands of ideological conformity?
As the world turns into 2025, echoes of 1925 linger: T.S. Eliot's The Hollow Men introduced us to a 'whimper' of despair, while Hitler's Mein Kampf foreshadowed catastrophe. What do these works from a century ago say about the fragility of human progress?
From reality TV’s contrived narratives to global news shaped by biases, we rarely consume truth unfiltered. Why does raw reality feel unbearable — and how does this shape our lives?
To be complicit, must you share the same intent? If one says nothing, does nothing, does this signify complicity? Is there then such a thing as an innocent bystander?
With Furiosa, George Miller returns to the Mad Max franchise that launched his almost five-decade-long career. Apocalyptic wastelands with their cacophony of blaring engines and vistas of desert panoramas are second nature to him by now. But fans of the film (myself included) must sadly admit that Furiosa is tanking at the box office, and is only the most recent in a string of female-led actioners that have flopped.
What's the appeal in Australian noir crime fiction? The genre has always been popular in Australia, and Australian writers of crime fiction have always had plenty of material to draw on. Led by authors like Garry Disher and Jane Harper, it has experienced something of a renaissance during the last decade.