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‘Where the Dead Men Lie’

Miles Franklin and ‘The Survivors’

Listening between the Lines: Introduction: Exploring Interdisciplinarity between Music and Literature

The Drama of the Separate Self in Rae Desmond Jones’ The Mad Vibe

The Communion of Clouds: Becoming-Woman in Coetzee’s *Waiting for the Barbarians*

Christina Stead’s ‘Drama of the Person’

Review of *Louisa* by Brian Matthews

Shirley Hazzard : Dislocation and Continuity

Review of *The Mystery of Unity: Theme and Technique in the Novels of Patrick White* by Patricia A. Morley

Review of *The Stenhouse Circle: Literary Life in Mid-Nineteenth Century Sydney* by Ann-Mari Jordens

Ada Cambridge and the First *Thirty Years*

While My Name Is Remembered…

Alan Wearne: Interview

Review of *Christina Stead: Satirist*, by Anne Pender, and *The Enigmatic Christina Stead: A Provocative Re-Reading*, by Teresa Petersen

The Scarlet-Clad Woman: Munch’s Influence in *A Fringe of Leaves*

Barbara Hanrahan’s Novels

A Fiction of Sisters: Christina Stead’s *Letty Fox* and *For Love Alone*

Feral Symbolists: Robert Adamson, John Tranter, and the Response to Rimbaud

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

‘Distant Voices, Still Lives’: The Correspondence Between H.H. Richardson and Her French Translator, Paul Solanges