Though literature and censorship have been conceived as long-time adversaries, this collection seeks to understand the degree to which they have been dialectical terms, each producing the other, coeval and mutually constitutive. On the one hand, literary censorship has been posited as not only inescapable but definitive, even foundational to speech itself. One the other, especially after the opening of the USSR's spekstrahn, those enormous collections of literature forbidden under the Soviets, the push to redefine censorship expansively has encountered cogent criticism. Scholars describing the centralised control of East German print publication, for example, have wanted to insist on the difference of pre-publication state censorship from more mundane forms of speech regulation in democracies. Work on South African apartheid censorship and book banning in colonial countries also demonstrates censorship's formative role in the institutional structures of literature beyond the metropole. Censorship and the Limits of the Literary examines these and other developments across twelve countries, from the Enlightenment to the present day, offering case studies from the French revolution to Internet China. Is literature ever without censorship? Does censorship need the literary? In a globalizing era for culture, does censorship represent the final, failed version of national control?

Though literature and censorship have been conceived as long-time adversaries, this collection seeks to understand the degree to which they have been dialectical terms, each producing the other, coeval and mutually constitutive. On the one hand, literary censorship has been posited as not only inescapable but definitive, even foundational to speech itself. One the other, especially after the opening of the USSR's spekstrahn, those enormous collections of literature forbidden under the Soviets, the push to redefine censorship expansively has encountered cogent criticism. Scholars describing the centralised control of East German print publication, for example, have wanted to insist on the difference of pre-publication state censorship from more mundane forms of speech regulation in democracies. Work on South African apartheid censorship and book banning in colonial countries also demonstrates censorship's formative role in the institutional structures of literature beyond the metropole. Censorship and the Limits of the Literary examines these and other developments across twelve countries, from the Enlightenment to the present day, offering case studies from the French revolution to Internet China. Is literature ever without censorship? Does censorship need the literary? In a globalizing era for culture, does censorship represent the final, failed version of national control?

Born Between the Lines is a revealing, honest, and powerful autobiography which draws upon themes that include race, cultural heritage, identity, education, freedom, and independence. Nicole has written about those important experiences and intimate relationships that have impacted the quality of her life and have made the difference in many of the life-decisions she has made. The daughter of a black Guyanese father and white English mother, Nicole offers multilayered musings that will take you on an inspirational and adventurous soul-searching journey, from her childhood challenges with race and identity issues growing up in the Midlands in the 1960s to her search for a place to belong. Born Between the Lines is a story of adversity and courage, of fragmented family ties and tensions, of unearthing close guarded secrets, where Nicole discovers the bittersweet truth about her family's life.

Oh Lucky Country (Paese fortunato) uses first-person point of view to inflate migrant oppression to such absurdist proportions that its swirling narrative boils over into a maelstrom, washing away all migrant clichés. It is a witty, tragi-comic view of Australian society, culture and prejudice. This new edition of Oh Lucky Country, with introductions by Nicole Moore and Gaetano Rando, is a part of the Australian Classics Library series intended to make classic texts of Australian literature more widely available for the secondary school and undergraduate university classroom, and to the general reader. The series is co-edited by Emeritus Professor Bruce Bennett of the University of New South Wales and Professor Robert Dixon, Professor of Australian Literature at the University of Sydney, in conjunction with SETIS, Sydney University Press, AustLit and the Copyright Agency Limited. Each text is accompanied by a fresh scholarly introduction and a basic editorial apparatus drawn from the resources of AustLit. Rosa Cappiello was born in Naples, Italy, in 1942. She migrated to Australia in 1971 with no knowledge of English and no skills and worked in various manual occupations. She published her first novel, I semi negri (The Black Seeds) in 1977 in Italy. In 1982, she was writer-in-residence at the University of Wollongong. She died in 2008 in Italy.

This unique innovative and rare collection of poetry and autobiographical writing from a diverse group of black and mixed-race women is the second of its kind in the UK. These creative writers take us on a journey and offer us a preview of their distinct and diverse perspectives on sexual attraction, love and motherhood. Some of the contributors were published in the first anthology Brown Eyes; some are new and previously unheard yet talented writers. All provide a reflection of many aspects of Black cultural heritage.

The story of a brutal shark attack that cost a woman her arm and much of her leg, and her death-defying recovery. One of the most dreadful experiences humans fear is a shark attack. This horrifying agony is exactly what happened to Nicole Moore, a nurse from Orangeville, Ontario. It was an assault all the more brutal for being so unlikely — she was standing in waist-deep water at a Mexican resort. She came very close to dying, losing 60 percent of her blood from deep bites on her arm and leg, and was rushed to a hospital where she received a questionable level of medical care that left her and her family confronting physical and mental anguish. Surviving gruesome misery, including the amputation of her left arm and attempts to rebuild her disfigured leg, she has fought on to become a source of inspiration for those facing seemingly insurmountable challenges.

Australia and New Zealand, united geographically by their location in the South Pacific and linguistically by their English-speaking inhabitants, share the strong bond of hope for cultural diversity and social equality-one often challenged by history, starting with the appropriation of land from their indigenous peoples. This volume explores significant themes and topics in Australian and New Zealand literature. In their introduction, the editors address both the commonalities and differences between the two nations' literatures by considering literary and historical contexts and by making nuanced connections between the global and the local. Contributors share their experiences teaching literature on the iconic landscape and ecological fragility; stories and perspectives of convicts, migrants, and refugees; and Maori and Aboriginal texts, which add much to the transnational turn. This volume presents a wide array of writers-such as Patrick White, Janet Frame, Katherine Mansfield, Frank Sargeson, Witi Ihimaera, Christina Stead, Allen Curnow, David Malouf, Les Murray, Nam Le, Miles Franklin, Kim Scott, and Sally Morgan-and offers pedagogical tools for teachers to consider issues that include colonial and racial violence, performance traditions, and the role of language and translation. Concluding with a list of resources, this volume serves to supportnew and experienced instructors alike.