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‘White Ravens’ in a World of Violence: German Connections in Thomas Keneally’s Fiction

Reopening the Case of Ada Cambridge

Nude Bathing Scenes as an Australian Pastoral Mode: Strategies and Tactics in Australian Art around the Turn of the Twentieth Century

Pastoral Retreat and Green Texts: The 2009 Globe Production of *Love’s Labour’s Lost*

Truth beyond the Language Game: The Poetry of Gwen Harwood

The Craftsmanship of Lawson Revisited

Recoil from Disorder: David Ireland’s *The Chantic Bird*

‘Savage Paradise’: History, Violence and the Family in Some Recent Australian Fiction

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

Fringe Finds Focus: Developments and Strategies in Aboriginal Writing in English

The Novel as ‘Work in Progress’: Shirley Hazzard’s *The Transit of Venus*

Italian Immigrants in Australian Fiction 1900-1950

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

Some Recent Australian Fictions in the Age of Tourism: Murray Bail, Inez Baranay, Gerard Lee

Paris, Moscow, Melbourne: Some Avant-Garde Australian Little Magazines, 1930-1934

Dramatising the Self: Beverley Farmer’s Fiction

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

A Reconsideration of Christina Stead at Work: Fact into Fiction

Randolph Stow’s *Outrider* and the French Voyager Poem

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