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‘Does all Melbourne smell like this?’: The Colonial Metropolis in Marvellous Melbourne

Textual Phantasmagoria: Marcus Clarke, Light Literature and the Colonial Uncanny

Subdivisions of Suburbia: The Politics of Place in Melissa Lucashenko’s *Steam Pigs* and Amanda Lohrey’s *Camille’s Bread*

Criminal Transport: George Barrington and the Colonial Cure

Brereton, the *Bulletin*, and A.G. Stephens

All the Way to Cape Grimm: Reflections on Carmel Bird’s Fiction

‘The Slaughterman of Wagga Wagga’: Imposture, National Identity, and the Tichborne Affair

Reflecting the Detectives: Crime Fiction and the New Journalism in Late Nineteenth-Century Australia

Reading Kate Llewellyn’s Garden(Books)

‘This Isn’t a Novel. It is a Life!’ : Dymphna Cusack and *Caddie: A Sydney Barmaid*

C. J. Brennan’s *A Chant of Doom*: Australia’s Medieval War

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

Future Tense: *Dead Europe* and Viral Anti-Semitism

Dear Daughter: Popular Feminism, the Epistolary Form and the Limits of Generational Rhetoric

Imagining Transcendence: The Poetry of David Malouf

‘Composing the Self’: Metaphors of Creativity in Henry Handel Richardson’s *Myself When Young*

Paternalism and Complicity: Or How Not to Atone for the ‘Sins of the Father’

The Traumas of Translation and the Translation of Trauma: Translation and Cultural Plurality in Fremd and Yasbincek

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

Reading Institutional Women: A Nexus Approach to Bourdieu, *Summer Heights High*, and the Fiction of Elizabeth Jolley