Henry Handel Richardson's debut, published in London in 1908, is set in the music scene of turn-of-the-century Leipzig, a cosmopolitan centre for the arts drawing students from around the world—among them Maurice Guest, a young Englishman, who falls helplessly in love with an Australian woman, Louise Dufrayer.

1922. The Australian author, Henry Handel Richardson's (Ethel Florence Lindesay Richardson), is best remembered for The Fortunes of Richard Mahony trilogy. Her novel, Maurice Guest, plays out the history of Maurice and Louise against the background of the musical life in Leipzig, of which she has intimate knowledge, having studied music there herself. The other figures in the drama, Madeleine, Krafft, Ephie, Schwarz's wife, landladies and musical students, are inevitably pieces in the principal game, and yet are never deliberately so placed there by the author in order to assist the final catastrophe. See other titles by this author available from Kessinger Publishing.

Fans of Jason Reynolds and Sharon M. Draper will love this oh-so-honest middle grade novel from writer and educator Maurice Broaddus. Thelonius Mitchell is tired of being labeled. He’s in special ed, separated from the “normal” kids at school who don’t have any “issues.” That’s enough to make all the teachers and students look at him and his friends with a constant side-eye. (Although his disruptive antics and pranks have given him a rep too.) When a gun is found at a neighborhood hangout, Thelonius and his pals become instant suspects. Thelonius may be guilty of pulling crazy stunts at school, but a criminal? T isn’t about to let that label stick.

Republics of Letters: Literary Communities in Australia is the first book to explore the notion of literary community or literary sociability in relation to Australian literature.

In her study of music-making in the Edwardian novel, Cecilia Björkén-Nyberg argues that the invention and development of the player piano had a significant effect on the perception, performance and appreciation of music during the period. In contrast to existing devices for producing music mechanically such as the phonograph and gramophone, the player piano granted its operator freedom of individual expression by permitting the performer to modify the tempo. Because the traditional piano was the undisputed altar of domestic and highly gendered music-making, Björkén-Nyberg suggests, the potential for intervention by the mechanical piano's operator had a subversive effect on traditional notions about the status of the musical work itself and about the people who were variously defined by their relationship to it. She examines works by Dorothy Richardson, E.M. Forster, Henry Handel Richardson, Max Beerbohm and Compton Mackenzie, among others, contending that Edwardian fiction with music as a subject undermined the prevalent antithesis, expressed in contemporary music literature, between a nineteenth-century conception of music as a means of transcendence and the increasing mechanisation of music as represented by the player piano. Her timely survey of the player piano in the context of Edwardian commercial and technical discourse draws on a rich array of archival materials to shed new light on the historically conditioned activity of music-making in early twentieth-century fiction.

An alphabetized volume on women writers, major titles, movements, genres from medieval times to the present.

fragments: the uow collection presents a university degree in a single volume; incorporating prose fiction, poetry, literary criticism and commentary dating from 2004-2007.Containing prose that delves into interpretation of mythology and religion, literary analysis of texts from Surrealism to Harry Potter, experiments in poetic forms and sequences of verse based on the Crusades, fragments showcases a developing writer and his changing style and talent over studying the art of writing.