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- Reading *The Electrical Experience* in *Cold Light*: Labour Politics and Narrative Form in Frank Moorhouse, Then and Now.Essay10 August 2016
- ‘Merely Unfriendly or Slightly Critical’: Christina Stead. The Left, and *I’m Dying Laughing*Essay7 December 2016
- Short Fiction Short Nation: The Ideologies of Australian RealismEssay2 November 2018
- The Tank Stream Press: Urban Modernity and Cultural Life in Christina Stead’s *Seven Poor Men of Sydney*Essay7 December 2016
- Cooper, Cather, Prichard, 'Pioneer': The Chronotope of Settler ColonialismEssay1 June 2016
- Who is My Neighbour?: Tim Winton’s ‘Aquifer’ and the Ghosts of CloudstreetEssay26 February 2017
- Challenging the Editing of the Rachel Henning LettersEssay1 October 1994
- Disability in Three Australian Gothic Novels: *The Well*, *Sing Fox to Me* and *Lilian’s Story*Essay23 May 2022
- Losing Sight of Billy: Moving Beyond the Specular in *Haxby’s Circus*Essay23 May 2022
- The Ends of Empire: Australian Steampunk and the Reimagining of Euro-ModernityEssay3 December 2018
- Fantasising the Nation for Child Readers in Early Australian Fairy TalesEssay11 December 2022
- The Reflexive Carter Brown, or the Prescience of *Last Note for a Lovely*Essay28 October 2021
- ‘I Want a Mortgage and Comfort’: Consumption, Totality and Identity in Australian Gay FictionEssay18 December 2023
- Recentring Water: Thinking with the Chain of PondsEssay25 May 2024
- Porous Realism and the Precarious Home in Ruth Park’s FictionEssay3 October 2024
- The Historical Basis of For the Term of His Natural LifeEssay1 December 1963
- The Composition of *Geoffry Hamlyn*: The Legend and the FactsEssay1 October 1968
- The Genesis of a Writer: The Early Years of Kenneth MackenzieEssay1 October 1968
- *Unspoken Thoughts*: A Reassessment of Ada CambridgeEssay1 May 1989
- White Closets, Jangling Nerves and the Biopolitics of the Public SecretEssay1 June 2011