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- Centre of Fierceness: Francis Webb’s Vision of the ArtistEssay1 October 1975
- Marcus Clarke: ‘Christianity is Dead’Essay1 October 1973
- The Poetic Narrative of R.D. FitzGerald’s ‘Between Two Tides’Essay1 October 1978
- Daniel Deniehy: A Checklist of Writings and SpeechesEssay1 May 1980
- *Capricornia*: Recovering the Imaginative Vision of a Polemical NovelEssay1 May 1981
- The Novel as ‘Work in Progress’: Shirley Hazzard’s *The Transit of Venus*Essay1 June 1991
- What Can Be Read and What Can Only Be Seen in Tim Winton’s FictionEssay1 October 1996
- Man, Work and Country: The Production of Henry LawsonEssay1 May 1992
- Getting a Head: Dismembering and Remembering in Robert Drewe’s *The Savage Crows*Essay1 May 2003
- Subdivisions of Suburbia: The Politics of Place in Melissa Lucashenko’s *Steam Pigs* and Amanda Lohrey’s *Camille’s Bread*Essay1 November 1998
- Shit Creek: Suburbia, Abjection and Subjectivity in Australian ‘Grunge’ FictionEssay1 November 1998
- The Fiction of Gabrielle LordEssay1 October 1999
- The Sun’s Fish Dreaming : The Poetry of Andrew TaylorEssay1 May 2004
- Professing the Popular: Political Fiction circa 2006Essay1 October 2007
- ‘Are you weaker than a woman, weaker even than a mother?’: Abjection and Infanticide in *Dead Europe* and *Drift*Essay1 October 2007
- The Telling of Marmel’s StoryEssay1 June 2009
- Burglary in Shady Hill and Sarsaparilla: The Politics of Conformity in White and CheeverEssay1 October 2006
- Adapting Australian Novels for the Stage: La Boite Theatre’s Version of *Last Drinks*, *Perfect Skin*, and *Johnno*Essay1 October 2008
- Humanitarian Sex: Biopolitics, Ethics, and Aid Worker MemoirEssay1 June 2011
- ‘I have so many truths to tell’: Randolph Stow’s *Visitants* and *The Girl Green as Elderflower*Essay1 May 2011