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Literary Studies

On the acknowledgments page of this vast compendium, Christopher Prendergast describes the creation of the work as an ‘arduous task’ and the book itself as an ‘unwieldy vessel’. One can sympathise with the difficulty of presenting as a history of five centuries of French literature what would more accurately be described as a chronological anthology of essay ...

For no one were Dryden’s partitions thinner than for Robert Lowell, as Kay Redfield Jamison’s exploration of the links between his work and the manic depressive illness which dogged him for most of his life makes clear. Previous biographers have, with varying degrees of compassion and opprobrium, chronicled the chaos and hurt caused by his manic outbursts.

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Tim Winton is embarrassing to Australian literary critics. It is not that it is impossible to form adequate literary judgements about the nature of his work. It is simply that any judgements one might form seem so totally irrelevant. Winton’s work makes plain a certain disconnect between the interests and imperatives of Australian literary criticism and those of t ...

In his Epilogue to this major study of the West Australian wheatbelt and its writers, Tony Hughes-d’Aeth describes his work. With no ‘exact precedent’ in Australian scholarship, it is ‘best thought of as an amalgam of literary history, literary sociology and literary geography’. To achieve this, Hughes-d’Aeth traces the idea of the wheatbelt through inte ...

Northrop Frye wrote that ‘No kind of book is easier to attack than an anthology’, as Stephen Burt reminds us in the introduction to ...

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In her introduction to Edge of Irony, Marjorie Perloff claims that in order to ‘understand Modernism ... we have to read, more closely than we have, the deeply ironic war literature of the defunct, multicultural, and polyglot Austro-Hungarian Empire’ ...

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Visiting the actor Simon Gleeson in 2014 a few months after he was cast as Jean Valjean in a new production of Les Misérables, I was startled by the bulked-up friend who met me from the train ...

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When Irène Némirovsky’s Suite Française appeared in 2004, it was a huge success, in France and throughout the English-speaking world as well ...

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Who is the I in Helen Garner’s work? This is the question Bernadette Brennan probes by canvassing more than forty years of Garner’s writing and her seventy-four-year existence ...

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What’s in a name? Academic Sue Joseph interviews eleven Australian non-fiction writers, a varied group which includes Paul McGeough, Doris Pilkington Garimara, and Kate Holden. Joseph is on a quest to uncover whether Australian ‘creative non-fiction’ exists here, as it does in other countries, and to understand what the term signifies to her subjects.

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