Deputy Books and Ideas Editor, The Conversation. Contributing Editor, Sydney Review of Books. Author of The Critic in the Modern World. Words in various other places.
James Ley
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Collini on the shitshow that is the UK university sector.
www.lrb.co.uk/the-paper/v4...
It's a technology for cheats and know-nothings. No wonder the executives love it.
www.themonthly.com.au/may-2025/ess...
Interesting article reflecting on the state of the avant-garde novel
theconversation.com/what-does-th...
Exciting news! @aunz.theconversation.com is hiring a new Deputy Arts Editor! This is a part time role with a primary focus on our reviews coverage, working under me. Please get in touch with any questions! jobs.theconversation.com/jobs/5385996...
Professor Cath Ellis, pro vice-chancellor, quality and integrity...
www.theguardian.com/australia-ne...
I've got a slightly tetchy review of the new Colm Tóibín in the latest ABR (paywalled)
www.australianbookreview.com.au/abr-online/c...
Against my will I watched part of an AI conference yesterday. Over four hours these were the only notes I took.
I loved Capture by Amanda Lohrey, a book full of big swings and unexpected detours. These are tough times for the novel, and what I find myself admiring most at the moment are those writers willing to take risks with their work.
www.theguardian.com/books/2026/m...
I reviewed Amanda Lohrey's Capture theconversation.com/amanda-lohre...
Astonishing!
www.theage.com.au/national/uni...
The problems with Britain’s universities are systemic and deep-rooted, not just local or contingent. Yet political and...
www.lrb.co.uk
With the inexorable rise of AI – in everyday tech, in public and private communications, in our universities – the value and distinctness of the written word is under siege
Colm Tóibín created some ripples last year when he remarked in an interview that artificial intelligence had doomed creative writing. He dismissed as ‘rubbish’ the idea that a computer could never rep...
www.australianbookreview.com.au
The Miles Franklin winner’s plot teeters on the edge of profound silliness, but it’s also a vehicle for making meaning of our lived experiences – and those of others
