Our aim in this introduction is to position all the articles that comprise this special issue of the Australian Journal of French Studies within a framework of mobility while highlighting how they each, individually, test and (beyond) certain frames. We are also writing in response to the annual conference of the Australian Society for French Studies, which co-convened in 2015 and at which the articles included here were presented.1 As began writing, as individuals working in collaboration, the tension between our singular and collective identities became visibly metonymic of the work that is generated in, and generates, French Studies. Clearly, one ofus has a deeper understanding ofthe mobilities at play in Francophone Studies; one of us is more interested in the evolution of our disciplinarity, as French lecturers, in light of student mobility and flexible modes of delivery; and one of us cannot in any direction without seeing Baudelaire. And yet in 2015 came together, as every year, with our colleagues from Australia and around the world with a clear sense of what it means - to all of us, despite the nuances of our institutional specificities - to work in French Studies. Thus, decided to remove our individual Is here, however transparent they may be, in order to write this introduction not so much from the perspective of a royal, or even a republican, we but rather from that of the first person mobile.In 2003 HarperCollins published an omnibus edition of three Hercule Poirot novels: The Murder on the Links, The Mystery of the Blue Train and Death in the Clouds. The title given to this marketing was Poirot: The French Collection. The move here is a curious mix of opening out and closing down. Brought together, the three novels take on a stronger, more overt Frenchness, as if this is how best to read them, perhaps at the expense of what might consider other modes of being. And at the same time readers are also called on to think less of the murders than of their setting, which is one (or in fact never just one) of movement - physical, across borders, and linguistic. Poirot speaks in French and at times he is said to interpret, both of which he manages while the text remains in English; while on other occasions (notably in The Murder on the Links) English appears to be the lingua franca of all characters, French, English and Belgian, but it seems (even in the mouths of the English themselves) almost deliberately stilted. All types of links are promoted, then, and murdered by Agatha Christie. The question for French Studies that arises out of this is one of disciplinary setting. For HarperCollins, Poirot's home is the one that he has made for himself, in London: It seems Hercule Poirot can never escape murder. Crimes, motives and killers followed him across the Orient and now they have found him again - but this time much closer to home.2Arguably, the setting of a crime novel is as important, or perhaps more important, than the crimes on which it is (ostensibly) predicated.3 Place is, however, less set (rigidly defined) than one might think: settings are traversed in various modes of transport (Holmes liked a cab, Poirot a taxi and often, especially in and across France, a train, although more recently Sophie Hannah has him take a bus,4 and PIs tend to prefer their car). Readers may well want to settle back with a good book; the text, for its part, is unsettled, and unsettles. Poirot moves to and from home, as if home is in fact a place that inspires motion. We in French Studies might think of Fred Vargas's Commissaire Adamsberg novels, in which Paris is point of departure and return, key to the investigation and solution while only at times the scene of the crime. But why should in French Studies think of and about Vargas rather than Christie? Does her Frenchness make us more at home in our study of her novels? At the 23rd annual conference of the Australian Society for French Studies,5 the theme, French Studies on the Move, engendered debate about French Studies identity, which was described as somehow essentially interdisciplinary. …