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‘Talking with Yagan’s Head’: The Poetry of John Mateer

All the Way to Cape Grimm: Reflections on Carmel Bird’s Fiction

Mid-Victorian Reading and the Antipodes

‘Are you weaker than a woman, weaker even than a mother?’: Abjection and Infanticide in *Dead Europe* and *Drift*

Singing up Country in the Poetry of Judith Wright and Pablo Neruda

Who Is Kevin, and Why Do We Need to Talk About Him? Lionel Shriver, Kevin, and the Problem of Representation

The Telling of Marmel’s Story

‘Composing the Self’: Metaphors of Creativity in Henry Handel Richardson’s *Myself When Young*

The Modernist Sacred: Randolph Stow and Patrick White

Paternalism and Complicity: Or How Not to Atone for the ‘Sins of the Father’

Adapting Australian Novels for the Stage: La Boite Theatre’s Version of *Last Drinks*, *Perfect Skin*, and *Johnno*

Manifesto of the Senses: Blind Sightedness in Christina Stead’s *For Love Alone*

You Are What You Eat: Rationalising Factory Farms in Don LePan’s *Animals*

Salt Scars: John Kinsella’s Wheatbelt

The Return of the Fairy: Australian Medievalist Fantasy for the Young

Displaced Selves in Contemporary Fiction, or the Art of Literary Activism

Amanda Lohrey's *Vertigo*: An Australian Pastoral

A Dog with a Broken Back: Animals as Rhetoric and Reality in the Fiction of J. M. Coetzee

‘Cutting off the Head of the King’: Sovereignty, Feudalism, Fantasy

Grievous Music: Randolph Stow’s Middle Ages