Tales of heroic rescues and bush Christmases in Australian fiction of the 19th century describe a time when the fire season was confined to summer.
The notion that a respected publishing house can be replaced by open access publishing is disproved by examining other recent examples, such as the now-closed University of Adelaide Press.
In The Town, by debut novelist Shaun Prescott, a white Australian male writer takes a non-heroic journey into a colonised landscape.
Recently uncovered Norman Lindsay novels reveal stories of love, lust and beaches.
Stella Prize winner Heather Rose's new novel Bruny catalogues modern geopolitical concerns in a work that crosses satirical, political and family drama genres.
The Paper House is a layered articulation of loss and grief, perception and reality, where author Anna Spargo-Ryan demonstrates genius use of metephor.
If you were in charge of the new parliamentary book club, what Australian book would you want your representative to read? Our experts weigh in.
This prize confirms Melissa Lucashenko's status as one of Australia’s top writers of contemporary fiction.
Each novel in this list is profoundly empathetic, and deeply attuned to contemporary Australia.
Digital writers use innovative tools to tell new and complex stories. In contrast to e-books, their works depend on electronic code to exist.
Fifty years after her death, Australian writer Charmian Clift is experiencing a renaissance. With her forward-thinking columns, Clift's voice rose above the crowd during post-war Australia.
Ryan O'Neill's book reimagines a classic Australian short story. He retells The Drover's Wife 99 times in various forms, including a poem, an Amazon review, and even as a Cosmo quiz.
Gothic texts are not all bloodsucking vampires and howling werewolves. An Australian Gothic tradition took root alongside colonisation, influencing writers from Marcus Clarke to Alexis Wright.
In a new adaptation of the classic Australian novel, the story of masculinity and despair in the outback is told through a female voice.
At the centre of the novel Coach Fitz is Tom, an anti-hero whose unintentionally humorous voice drives the narrative. Tom is an awkward everyman, a naïve Don Quixote, a digressive Tristam Shandy.
The omniscient narrator is alive and well in fiction. Kim Scott's most recent novel uses a collective narrative voice that encompasses the landscape as well as the human.
True crime-related storytelling has shrugged off its former low-brow baggage. Two recent Australian books show how victims' stories can be told sensitively and humanely.
It is rare to have a new production of an Australian opera - a vivid new performance of The Children's Bach was refreshing to see.
In her fragmentary family memoir, Cynthia Banham interweaves narratives of war and migration with her own traumatic plane crash - ultimately reclaiming her identity in the process.
Stephanie Bishop's latest novel demonstrates a sophisticated approach to the relationship between time and narrative: novelists and aspiring writers would do well to look closely at her achievement.