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Authors’ Statements [Shirley Hazzard]

Caesura and the Deforming Poem: Rupture as a Space for the Other

Simon During, Crisis Talk and the Legacies of the 1980s

Treating Dora in *His Natural Life*

Folie, Topography and Family in Murray’s Middle-Distance Poems

‘Phrases Between Us’: The Poetry of Anna Wickham

‘The Young Man Will Go Far’: Educational Mobility and Christina Stead’s Compositional Practice in the Early 1930s

Challenging the Editing of the Rachel Henning Letters

Writing Disability in Australia: Transmedial Potentials for Illness/Recovery Narratives

The Values of *Critique*

Revisiting the ‘Problem’ of Anthropomorphism through Ceridwen Dovey’s *Only the Animals* (2014)

Apocalyptic Climate Fiction in the Third Media Revolution: Briohny Doyle’s *The Island Will Sink*

History and Fiction in Rolf Boldrewood’s *The Miner’s Right*

Xavier Herbert: *Capricornia*

Miles Franklin on Dearborn Street, Chicago, 1906-15

Drama’s Vitallest Expression: The Fiction of Olga Masters

*Ralph Rashleigh*: A Convict Dream

The Structure of Frederic Manning’s War Novel *Her Privates We*

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

Gender, Genre, and Sybylla’s Performative Identity in Miles Franklin’s *My Brilliant Career*