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Bridging Distances: Ruth Park’s *A Power of Roses* (1953)

Coetzee’s Womanizing

Picturising Patois in *The Sentimental Bloke*

*The Mystery of a Hansom Cab* as Spatial Artefact: Exploring Class and the Spatial Unconscious in Nineteenth-Century Australia’s Favourite Whodunnit

Les Murray’s Talking Mosaics

Francis Adams: Realism and Sensation in the 1880s

Marcus Clarke, the Two George Eliots, and the History of Two Newspapers

What is Australian Popular Fiction?

Christina Stead’s Earliest Publications

The Historical Basis of For the Term of His Natural Life

The Boer War: Paterson, Abbott, Brennan, Miles Franklin and Morant

‘A Depressed Amor’: Richardson’s ‘The Bathe: a Grotesque’

Charles Harpur’s Disfiguring Origins: Allegory in Colonial Poetry

Treating Dora in *His Natural Life*

Society of Women Writers 1925-1935

The Drowned World of Kenneth Slessor

The Dutch-Australian Connection: Willem Siebenhaar, D. H. Lawrence, *Max Havelaar* and *Kangaroo*

Colonial Gothic: Morbid Anatomy, Commodification and Critique in Marcus Clarke’s *The Mystery of Major Molineux*

‘Big Poems Burn Women’: *Fredy Neptune*’s Democratic Sailor and Walcott’s Epic Omeros

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