Hugh McCrae's poetic works present current readers with something of a problem. Although McCrae's aesthetics appear detached from history, his work engaged on several levels with the problem of imagining the land that white Australians found so elusive as a source of identification and artistic sustenance. Even while being mired in thematic and formal nostalgia for European memory, McCrae's work until the 1930s included some visually striking pieces that challenged the prevailing realism of the period and led him from a disturbed pastoral to the overambitious Vision: A Literary Quarterly project. Yet, having failed to find his voice after Vision, McCrae in his later poetry relied on early preoccupations, even while those poets around him, such as Kenneth Slessor, became icons of twentieth-century modernist innovation. However, much in McCrae's work suggests a complex and far from derivative method behind the fantasy and the dress-up pageant of Satyrs and...