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- Harry Joy’s Children: The Art of Story Telling in Peter Carey’s *Bliss*Essay1 May 1994
- A Reconsideration of Christina Stead at Work: Fact into FictionEssay1 May 1997
- Ern Malley and His RivalsEssay1 May 2001
- The Fiction of Gabrielle LordEssay1 October 1999
- ‘Years Later’: Temporality and Closure in Peter Carey’s NovelsEssay1 October 1999
- Review of *The Intimate Empire: Reading Women's Autobiography*, by Gillian WhitlockReview1 October 2000
- ‘Will This be Your Poem, or Mine?’: The Give and Take of StoryEssay1 October 2007
- ‘Isn’t there a poem about this, Mr de Mille?’: On Quotation, Camp and Colonial DistancingEssay1 November 2008
- Future Tense: *Dead Europe* and Viral Anti-SemitismEssay1 November 2008
- The Significance of Littoral in Beverley Farmer’s Novel *The Seal Woman*Essay1 November 2009
- ‘Composing the Self’: Metaphors of Creativity in Henry Handel Richardson’s *Myself When Young*Essay1 October 2005
- Review of *Henry Handel Richardson: A Life*, by Michael AcklandReview1 October 2006
- Friendship in a Time of LonelinessEssay1 May 2009
- Review of *Barbara Hanrahan: A Biography*, by Annette StewartReview1 October 2010
- ‘Are We the Future of the Past?’ : Gothic Pasts, Gothic Futures, and Imaginary LivesEssay1 October 2011
- Mal du Pays: Symbolic Geography in the Work of Randolph StowEssay1 May 1991
- Serving ‘a Male Philosophy’? *Elizabeth Costello*’s Feminism and Coetzee’s Dialogues with JoyceEssay25 February 2018
- Defining and Redefining Popular Genres: The Evolution of ‘New Adult’ FictionEssay3 December 2018
- 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