This chapter takes up the mid-century politics of the Australian novel enacted in the terms dictated by the Cold War. Replicating the broader bipolar model of the cultural Cold War, the divide in Australia, mapped between modernism and realism, was complexly transnational, with vaunted stakes in the hot wars of the decolonising Asia Pacific and deconstructive receptions behind the Iron Curtain. The ideological debates of the cultural Cold War in Australia recall a faith in realism as a liberatory mode that is in danger of becoming unreadable. Australian post-war realism reached out to Indigenous issues, new migrants, women and working-class readers in structured and inclusive ways. Blurring into popular genres and facing strict federal censorship, realism’s traditional interest in the quotidian was mediated by its attention to topicality, or to the defining mid-century social issues motivating readers. This chapter is bookended by the scandalous court case of communist Frank Hardy for his Power Without Glory (1950), prosecuted for criminal libel in Australia’s McCarthyite moment, and Gerald Glaskin’s No End to the Way (1965), Australia’s first out gay novel, banned by the censors and marketed as ‘penetrating – honest – telling it like it is’.