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‘The Kingdom of Dust’: *Voss* as Planetary Epic

‘Are We the Future of the Past?’ : Gothic Pasts, Gothic Futures, and Imaginary Lives

Sex and the City: New Novels by Women and Middlebrow Culture at Mid-Century

Reading in Public: Irene Longman and Citizenship

Phonographic Books and the Late Nineteenth-Century Reader

Christina Stead’s Student Publications

*In the Heart of the Country* and Pain: Re-reading Space, Gender and Affect

Magda Meets Theodora: Language and Interiority in *The Aunt’s Story* and *In The Heart of the Country*

The Menace of Intimacy: Domestic Noir, Feminist Criminology, and Emily Maguire’s *An Isolated Incident*

Repetition and Christina Stead’s *The Man Who Loved Children*

On Not Having Sex: Sumner Locke Elliott and Queer History

Challenging the Editing of the Rachel Henning Letters

Re-Imagining Indigenous Australia through the Short Story: *Heat and Light* by Ellen van Neerven

The Reflexive Carter Brown, or the Prescience of *Last Note for a Lovely*

Introduction: The Uses of Irish-Australian Literature

‘Taking a Risk’: Disability, Prejudice and Advocacy in the Editing and Publishing History of Ruth Park’s *Swords and Crowns and Rings*

The Values of *Critique*

Porous Realism and the Precarious Home in Ruth Park’s Fiction

‘The Beast Within’: Degeneration in *Dr Jekyll and Mr Hyde* and Three Australian Short Stories

‘A recognised trouble-maker wherever he goes’: Narrated Surveillance, Redacted Recognition and the International Reach of ASIO’s Cultural Cold War