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Reading the Signs of Michael Wilding’s ‘Knock, Knock’

‘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*

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

Life-Lines in Stormy Seas: Some Recent Collections of Women’s Diaries and Letters

Dramatising the Self: Beverley Farmer’s Fiction

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

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

Erocide Is Painless: Insensation in Les Murray’s *Fredy Neptune*

‘Isn’t there a poem about this, Mr de Mille?’: On Quotation, Camp and Colonial Distancing

‘What Would Civilisation Be without a Gun?’ The Resistant Land in Sarah Campion’s Burdekin Trilogy

Burglary in Shady Hill and Sarsaparilla: The Politics of Conformity in White and Cheever

Biopolitics and Eleanor Dark’s *Prelude to Christopher*

Counter-Poetics

‘A Reading People?’: Global Knowledge Networks and Two Australian Societies of the 1820s

‘I have so many truths to tell’: Randolph Stow’s *Visitants* and *The Girl Green as Elderflower*

Once We Were a Discipline: Stray Thoughts on English

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

Parliamentary Medievalism: The Australian Magna Carta as Secular Relic

Ladies and Gentlemen? Language, Body and Identity in *The Aunt’s Story* and *The Twyborn Affair*