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Australian Literary Studies in the 1940s: The Commonwealth Literary Fund Lectures

*The Sentimental Bloke* and His Critics

Australian Prose Literature of the First World War : A Survey

Gender and Genre in Barbara Baynton’s *Human Toll*

Grant Watson and the Aborigine: A Tragic Voice in an Age of Optimism

Marcus Clarke and the Theatre

Patrick White’s Novels and Nietzsche

Gossip and History in the Novels of Brian Penton and Thomas Keneally

Impossible Coincidences: Narrative Strategy in Brian Castro’s *Birds of Passage*

Is Phallocentricity a Sin? or a Peccadillo?: Comedy and Gender in Ethel Anderson’s *At Parramatta* and Patrick White’s *Voss*

Italian Immigrants in Australian Fiction 1900-1950

Writers Behaving Badly: Stead, Bourdieu and Australian Literary Culture

The Solitariness of Alex Miller

The Mysterious Case of Carter Brown, or, Who Really Killed the Australian Author

Who’s Who?: Mapping Hoaxes and Impostures in Australian Literary History

Erocide Is Painless: Insensation in Les Murray’s *Fredy Neptune*

The Significance of Littoral in Beverley Farmer’s Novel *The Seal Woman*

Finding Home: The Poetry of Margaret Scott

Adapting Australian Novels for the Stage: La Boite Theatre’s Version of *Last Drinks*, *Perfect Skin*, and *Johnno*

The Significance of Littoral in Beverley Farmer’s Novel *The Seal Woman*