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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

Miles Franklin on American Manhood and White Slavery: The Case of ‘Red Cross Nurse’

Spatialising Experience : Gail Jones’s *Black Mirror* and the Contending of Postmodern Space

‘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

Cosmopolitanism, Sovereignty and Medievalism

Rediscoverd Lawson Sketch of 1863 ‘Selection Farms’

Reading in Public: Irene Longman and Citizenship

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

Getting Started: The Emergence of Christina Stead’s Early Fiction

A Ghost Story in Two Part : Charles Dickens, Peter Carey, and Avenging Phantoms

Interview with Christos Tsiolkas: ‘What Does Fiction Do?’: On *Dead Europe*: Ethics and Aesthetics

What Falls from View? On Re-Reading Alexis Wright’s *Plains of Promise*

‘Lights all askew in the heavens’: Einsteinian Relativity, Literary Modernism and the Lecture on Light in Christina Stead’s *Seven Poor Men of Sydney*

Death and Home-Work: The Origins of Narrative in *The Fortunes of Richard Mahony*

On Appropriation: Two Novels of Dark and Barnard Eldershaw