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The Use of Names and Colours in Randolph Stow’s *Tourmaline*

Is Phallocentricity a Sin? or a Peccadillo?: Comedy and Gender in Ethel Anderson’s *At Parramatta* and Patrick White’s *Voss*

Sonnet Sequences in Australia (1832-1990): A Preliminary Checklist

Harry Joy’s Children: The Art of Story Telling in Peter Carey’s *Bliss*

Un-Australian Activities?: Mary Gilmore’s Versions from the Spanish

Life-Lines in Stormy Seas: Some Recent Collections of Women’s Diaries and Letters

Terra Australis: Landscape as Medium in *Capricornia* and *Poor Fellow My Country*

Dramatising the Self: Beverley Farmer’s Fiction

Still Life: Art and Nature in Vivian Smith’s Poetry

What Can Be Read and What Can Only Be Seen in Tim Winton’s Fiction

The Fiction of Beverley Farmer

‘The Great Australian Emptiness’ Revisited: Murray Bail’s *Holden’s Performance*

Evoking Empathy: Structures of Language and Feeling in Robert Gray’s Poetry

Enlarging Our Experiments with Narrative: John A. Scott’s Triology with Annotations

Helen Garner’s *Monkey Grip*: The Construction of an Author and Her Work

That Hilarious Supplement: Gerald Murnane’s *A Lifetime on Clouds*

‘The Craft So Long to Learn’: Ruth Park’s Story of Ruth Park

Australian Literary and Scholarly Publishing in Its International Context

Colonial History and Post-Colonial Fiction : The Writing of Thea Astley

Textual Phantasmagoria: Marcus Clarke, Light Literature and the Colonial Uncanny