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October 2022 Volume Volume LXVI, Number 9, No. 590
The Dead Sea Scrolls’ Australian Connection
Rachael Kohn
The European Union as the New Tower of Babel
David Martin Jones
The Comic Genius of Ulysses
Barry Gillard
Diagnosing Dysfunction in Defence Management
Michael Evans
A One-Sided Story
Peter Hayes
Doing His Duty
Ross Fitzgerald
Ukraine
Vasily Grossman, the Man Who Loved War
Michael Connor
Ukraine’s Gift to the House of Freedom
Daryl McCann
The Philistine
Given Back as a Gift That Which Was Taken
Salvatore Babones
London Letter
Andrew Cusack
Editor's Column
International Law and the Voice
Keith Windschuttle
Asperities
National Conservatism, the Return of the Repressed
John O’Sullivan
Astringencies
Opinion as the Touchstone of Virtue
Anthony Daniels
Aborigines
The Judicial Over-Reach of the Mabo Case
John Singer
Saving Australia, One Bumper Sticker at a Time
Joanna Hackett
Defence
Diagnosing Dysfunction in Defence Management
Michael Evans
Film
The Offer: Just About Everybody Refused
Joe Dolce
Health
Progressive Politics Infects Primary Care Medicine
John Prineas
Letters to the Editor
Literature
Barry Gillard
New York Letter
Rob Long
Politics
The Blinkered Nationalism of Australia’s New Left
Lucas McLennan
The European Union as the New Tower of Babel
David Martin Jones
Religion
The Dead Sea Scrolls’ Australian Connection
Rachael Kohn
Science
Society
Christopher Akehurst
Dissidents Against the Gender Dysphoria Orthodoxy
Wanda Skowronska
Abortion and the Question of Rights
Anthony Daniels
Story
Tom Randolph
Sweetness & Light
More Twisted Than a Corgi’s Bung Leg
Tim Blair
Poems
Graham Allison
Jack Mitchell: ‘all those beginnings’
Jack Mitchell
Glenn McPherson: ‘A Cathedral of Rocks’
Glenn McPherson
Phil Brown: ‘A View of the Hills’
Phil Brown
Stephen Gilfedder: ‘Christ in the Freezer’ and ‘Ironman’
Stephen Gilfedder
Katherine Spadaro: ‘Spider Psalm’ and ‘The Moon Called’
Katherine Spadaro
Sean Wayman: ‘The Greenhouse at Lednice Chateau’
Sean Wayman
Andrew Gabriel
John Carey: ‘Lamentatio’ and ‘Pro Forma’
John Carey
Jeremy Nelson: ‘Felix Culpa’ and ‘Ideology’