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

Some Mary Gilmore Letters

Marcus Clarke’s *Chidiock Tichbourne*

The Alienation of Alistair Cawdor in Randolph Stow’s *Visitants*

The One-Actor Play in Australian Drama

Satyrs in the Top Paddock: Metaphysical Pastoral in Australian Poetry

Assimilation or Appropriation: Uses of European Literary Forms in Black Australian Writing

Impossible Coincidences: Narrative Strategy in Brian Castro’s *Birds of Passage*

Lesbia Harford’s Homefront Warrior and Women’s World War I Writing

A Neglected Interview between Henry Handel Richardson and Brian Penton, 1931-1933

‘Not a Good Forgetter’: H.H. Richardson’s Recasting of the Past in *Myself When Young*

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

The Fiction of Beverley Farmer

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

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

Getting a Head: Dismembering and Remembering in Robert Drewe’s *The Savage Crows*

Un/making Sexuality: *Such Is Life* and the Observant Queer Reader

Dorothy Hewett’s Faith in Doubt

Dying of Landscape: E.L. Grant Watson and the Australian Desert

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