I’ll make this one short and sweet. We’re working hard here at thirdspace to get ready for a new era: new mandate, new editors, and new online journal management software and submissions procedures. Much work, little time, as always, but we hope to lay the foundation to be even better in the future. Look for our new identity in our July issue, the start of our (can you believe it?) seventh year of publishing.

In this issue, Susanne Gannon and Sue Saltmarsh analyze the texts generated by the Australian government around the detention of Australian legal resident Cornelia Rau as an illegal immigrant, concentrating on the discursive constitution of subjects within those texts “that served to position Rau as unintelligible as a citizen, and thus, as undeserving of the fundamental rights of citizenry in a liberal democracy.” Gannon and Saltmarsh argue those “whose entitlement to speak has not been revoked” share both a vulnerability to be equally rendered ‘unintelligible’ and a responsibility to question and contest “those practices through which immigration detainees are constructed as unintelligible, and thereby subjected to conditions which remain outside what is recognized as acceptable under national and international law.”

Laura Rus’s paper uses the concept of “home” as a means to explore the complex problematics of knowledge and representation, especially how these problematics are made visible through notions such as: diaspora, gender, identity and multiculturalism, opening these categories to questions, reconsiderations, and disruptions. This paper explores our understanding of “home” and the formation of identity in the diasporic community as well as the structural dynamics of desire and affect as formative of both the self and the diasporic community.

And Catherine Fox and Susan Pelle use Elizabeth Grosz’s notion of becomings to argue that Lisa Cholodenko’s film, High Art, brings to the forefront questions about spectatorship, pleasure, and desire – including the contentious issue of commodification of queer cinema. They explore how strategic “disidentification” as spectators and consumers – here, to refuse to label cinematic representations of lesbians and lesbian desires as only positive or negative – can inform our politics.

	Diaspora and Desire
	Jenéa Tallentire
	I’ll make this one short and sweet. We’re working hard here at thirdspace to get ready for a new era: new mandate, new editors, and new online journal management software and submissions procedures. Much work, little time, as always, but we hope to lay the foundation to be even better in the future. Look for our new identity in our July issue, the start of our (can you believe it?) seventh year of publishing. In this issue, Susanne Gannon and Sue Saltmarsh analyze the texts generated by the Australian government around the detention of Australian legal resident Cornelia Rau as an illegal immigrant, concentrating on the discursive constitution of subjects within those texts “that served to position Rau as unintelligible as a citizen, and thus, as undeserving of the fundamental rights of citizenry in a liberal democracy.” Gannon and Saltmarsh argue those “whose entitlement to speak has not been revoked” share both a vulnerability to be equally rendered ‘unintelligible’ and a responsibility to question and contest “those practices through which immigration detainees are constructed as unintelligible, and thereby subjected to conditions which remain outside what is recognized as acceptable under national and international law.” Laura Rus’s paper uses the concept of “home” as a means to explore the complex problematics of knowledge and representation, especially how these problematics are made visible through notions such as: diaspora, gender, identity and multiculturalism, opening these categories to questions, reconsiderations, and disruptions. This paper explores our understanding of “home” and the formation of identity in the diasporic community as well as the structural dynamics of desire and affect as formative of both the self and the diasporic community. And Catherine Fox and Susan Pelle use Elizabeth Grosz’s notion of becomings to argue that Lisa Cholodenko’s film, High Art, brings to the forefront questions about spectatorship, pleasure, and desire – including the contentious issue of commodification of queer cinema. They explore how strategic “disidentification” as spectators and consumers – here, to refuse to label cinematic representations of lesbians and lesbian desires as only positive or negative – can inform our politics.