The tension between British and Australian publishers has long been a central thesis of antipodean print culture histories.
Perhaps new empiricism, in its perceived relevance to Australian literature and the humanities in general, is a system of analysis that represents what Fredric Jameson lamented as the ‘depthlessness’ of postmodernism, privileging the consumption of visual images over deeper, critical forms of thinking?
The nature of this article is to question the basis for the Sydney- and Melbourne-centric view of Australian literary production … but to do so from a regional state-by-state (and territory) statistical perspective.