Dame Mary Durack Miller was born into a pastoral legacy that made her name famous even before she became one of Australia's most popular literary doyennes of the 20th century. Best known for her history of the Durack family, Kings in Grass Castles, Dame Mary was married to aviation pioneer Horrie Miller and was a sibling to the artist Elizabeth Durack. Among the multifarious threads woven into her life, she became a friend and confident to many celebrated writers, actors, and artists. Drawing on a great accumulation of first-hand sources, principally her mother's diaries and correspondence, Patsy Millett's book is about a well-known family who saw their prospects as blighted. Written from the unique perspective of someone born into the wash-up of the Durack dynasty, Patsy says her account 'will be controversial, as the reality behind the generally accepted facts has never been told.' Millet's story is unflinching. Her sharp, insightful prose and acerbic wit create an intimate portrait of an extraordinary writer whose family life was filled with triumph and tragedy.

Through war, love affairs, children and old age, the Duracks' creative lives were always shaped by the enduring power of the Kimberley region. With unprecedented access to hundreds of private family letters, unpublished memoirs, diaries and papers, Brenda Niall gets to the heart of a uniquely Australian story.

‘... far better than any novel; an incomparable record of a greart family and of a series of great actions.’ The Bulletin When Patrick Durack left Western Ireland for Australia in 1853, he was to found a pioneering dynasty and build a cattle empire across the great stretches of Australia. With a profound sense of family history, his grand-daughter, Mary Durack, reconstructed the Durack saga - a story of intrepid men and ground-breaking adventure. This sweeping tale of Australia and Australians remains a classic nearly fifty years on.

"Mudrooroo: A Likely Story reads the fiction of one of Australia's most controversial and enigmatic literary figures against the backdrop of the likelihood that he assumed an Aboriginal identity to which he was not entitled. As he is neither black nor white, Colin Johnson (a.k.a. Mudrooroo) writes on issues of identity and belonging from the position of an outsider. The book argues that the experimental nature of Johnson's creative body of work coupled with the complexities of his 'in-between' status, mean that both the man and his writing evade neat categorisation within mainstream literary criticism. Also examined here is how the denial of his white mother impacts upon the gender politics of Johnson's fiction in a way that opens up exciting new possibilities for critical comment and textual analysis."--Back cover.

Katie Langloh Parker was a white woman who notated the Aboriginal language Euahlayi and collected the legends from the Noongahburrahs in the latter decades of the nineteenth century. But her publication of the legends is controversial. There have been both critical and supportive critiques of her work, but little on the woman herself who accomplished something extraordinary as a nineteenth century squatter's wife in the outback.

The possibility that works of art and literature might be forged and that identity might be faked has haunted the cultural imagination for centuries. That spectre seems to have returned with a vengeance recently, with a series of celebrated hoaxes and scandals ranging from the Alan Sokal hoax article in Social Text to Binjamin Wilkomirskiâ (TM)s â oefakeâ Holocaust memoir. But as well as creating anxiety, the possibility of â oefaking itâ has now been turned into entertainment. Traditionally these activities have been dismissed as dangerous and immoral, but more recently some scholars have begun to speculate, for example, that all forms of national identity rely on forged myths of origin. Recent cultural theory has likewise called into question traditional notions of authenticity and originality in both personal identity and in works of art. Despite critical pronouncements of the death of the author and the substitution of the simulacrum for the original, however, making a distinction between the genuine and the fake continues to play a major role in our everyday understanding and evaluation of culture, law and politics. Consider, for example, the fiasco surrounding the â oeforgedâ Hitler diaries, law suits against auction houses for failing to detect forgeries in the art market, or the problem of plagiarism at universities. It still seems to matter that we can spot the difference, especially in the historical moment when we are capable of making copies that are indistinguishableâ "perhaps even better thanâ "the original. This collection of essays considers the moral, aesthetic and political questions that are raised by the long history and current prevalence of fakes and forgeries. The international team of contributors consider the issues thrown up by a wide range of examples, drawn from fields ranging from literature to art history. These case studies include little-known subjects such as Eddie Burrup, the Australian aboriginal artist who turned out to be an 81-year-old white woman, as well as new interpretations of familiar cases such as faked holocaust memoirs. The strength of the collection is that it brings together not only a wide range of cultural examples of fakes and forgeries from different historical periods, but also offers a wide variety of theoretical takes that will form a useful introduction and casebook on this growing field of inquiry.

This book explores the untold history of women, art, and crime. It has long been widely accepted that women have not played an active role in the art crime world, or if they have, it has been the part of the victim or peacemaker. Women, Art, and Crime overturns this understanding, as it investigates the female criminals who have destroyed, vandalised, stolen, and forged art, as well as those who have conned clients and committed white-collar crimes in their professional occupations in museums, libraries, and galleries. Whether prompted by a desire for revenge, for money, the instinct to protect a loved one, or simply as an act of quality control, this book delves into the various motivations and circumstances of women art criminals from a wide range of countries, including the UK, the USA, New Zealand, Romania, Germany, and France. Through a consideration of how we have come to perceive art crime and the gendered language associated with its documentation, this pioneering study questions why women have been left out of the discourse to date and how, by looking specifically at women, we can gain a more complete picture of art crime history.