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

Introduction

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

A Pastoral Reading of Christina Stead’s *Cotters’ England*

A Reconsideration of Christina Stead at Work: Fact into Fiction

Dreaming of the Middle Ages: The Place of the ‘mittelalterlich’ and Socialist Awareness in Christina’s Stead’s Early Fiction

Politics and Passion in Stead’s Late Novels

Review of *Christina Stead: A Life of Letters* by Chris Williams, *Christina Stead* by Diana Brydon, *Christina Stead* by Susan Sheridan, and *Christina Stead's Heroine: The Changing Sense of Decorum* by Kate Macomber Stern

Review of *The Magic Phrase: Critical Essays on Christina Stead* and *Christina Stead's Politics of Place*

Christina Stead’s ‘Kelly File’: Politics, Possession and the Writing of *Cotters’ England*

‘Scorched Earth’, Washington and the Missing Manuscript of Christina Stead’s *I’m Dying Laughing*

Ern Malley and Les Deliquescences D’adore Floupette

‘A Vermeer in the Hayloft’: Christina Stead, Unjust Neglect and Transnational Improprieties of Place and Kind

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

Searchlights and the Search for History in Christina Stead’s ‘Seven Poor Men of Sydney’

Writers Behaving Badly: Stead, Bourdieu and Australian Literary Culture

Manifesto of the Senses: Blind Sightedness in Christina Stead’s *For Love Alone*

Research in Progress in Australian Literature [1981]

‘Merely Unfriendly or Slightly Critical’: Christina Stead. The Left, and *I’m Dying Laughing*

Research in Progress in Australian Literature [1975]