Editing a book seems so simple on paper. Phone your friends, ask them to come to a conference and deliver a paper, cajole them into writing a chapter, place the chapters in a sensible order, write an introduction and send it to the publishers. In the same way that making a fi lm involves more than pointing a camera at some people and getting them to act out a script, so, too, a book like this relies on the talent of many, many individuals. Cathy Hutton, conference-organizer extraordinaire, tolerated our peccadilloes and glacial decision-making, and expertly administered a successful conference in October 2010. With tactful reminders, she continued to harry authors and editors after the conference. Th is book came into being thanks to her eff orts and thanks to the skill and good humour of Monique Cormier, the Research Associate on the ARC War Crimes Project. Monique was a vital part of the untold stories team. We thank her. Th e copy-editing task fell fi rst to Jessye Freeman, who also read the chapters for sense and sensibility, and then to Bianca Dillon, whose meticulousness ensured that the chapters formed an actual book, not simply a collection of disparate papers. Hidden Histories is a greatly improved volume thanks to their work. A number of conference presenters are not included in this volume. We acknowledge the contributions of Yuki Tanaka, Lia Kent, Suzannah Linton, Yuma Totani, Tim McCormack, Chris Jenks, Paul Bartrop, Neville Sorab, Magda Karagiannakis, Joanna Kyriakakis, Martine Hawkes, John Heard, and Hannibal Travis to the conference. Jennifer Balint was our co-conspirator in organizing the conference itself. She contributed hugely to the planning of and intellectual inspiration behind both the conference and book. Funding and support for this conference and book project was provided by the ARC and by the Asia-Pacifi c Centre for Military Law. We are delighted to be publishing this book with our friends at Oxford University Press—in particular, our all-too-patient and responsive editors, John Louth and Merel Alstein. Th e coats featured in the photograph on the cover of the book formed part of Marking the Stranger , an exhibition by Gerry’s mother-in-law, the Melbourne artist, Shirley Cass.