At the beginning of the 21st century, a confluence of elements has made the genre of second-generation Holocaust writing publishable in a way that would seem unlikely based on its major themes and the risk-averse publishing strategies of the multinational conglomerates that control the Australian publishing industry. This thesis examines the contemporary Australian publishing industry and attempts to explain the popular publication of second-generation Holocaust writers. Case studies include Lily Brett, the earliest and most prolific of the second generation, and Mark Baker, a writer made immediately successful by his mainstream publisher using all the marketing tools at its disposal.
