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Literary sources of Patrick White’s *Voss:* *A House is Built* and *Think of Stephen*

‘Are We the Future of the Past?’ : Gothic Pasts, Gothic Futures, and Imaginary Lives

Grievous Music: Randolph Stow’s Middle Ages

Strange Kinships: Embodiment and Belief in J.M. Coetzee’s *Elizabeth Costello*

Reading *The Electrical Experience* in *Cold Light*: Labour Politics and Narrative Form in Frank Moorhouse, Then and Now.

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

Short Fiction Short Nation: The Ideologies of Australian Realism

The Tank Stream Press: Urban Modernity and Cultural Life in Christina Stead’s *Seven Poor Men of Sydney*

Cooper, Cather, Prichard, 'Pioneer': The Chronotope of Settler Colonialism

Who is My Neighbour?: Tim Winton’s ‘Aquifer’ and the Ghosts of Cloudstreet

Challenging the Editing of the Rachel Henning Letters

Disability in Three Australian Gothic Novels: *The Well*, *Sing Fox to Me* and *Lilian’s Story*

Losing Sight of Billy: Moving Beyond the Specular in *Haxby’s Circus*

The Ends of Empire: Australian Steampunk and the Reimagining of Euro-Modernity

Fantasising the Nation for Child Readers in Early Australian Fairy Tales

The Reflexive Carter Brown, or the Prescience of *Last Note for a Lovely*

‘I Want a Mortgage and Comfort’: Consumption, Totality and Identity in Australian Gay Fiction

Recentring Water: Thinking with the Chain of Ponds

Porous Realism and the Precarious Home in Ruth Park’s Fiction

The Historical Basis of For the Term of His Natural Life