Reading (in/and) *Miranda

Australian fiction, like that of all nations, is written, published, \nreceived and read in the context of a literary canon, both national and \ntransnational. In regards to women's fiction in Australia, this canon is \npredominantly composed of writers from two particular eras: authors of the \nnineteenth and early twentieth centuries (like Henry Handel Richardson, Miles \nFranklin, Katharine Susannah Prichard and Christina Stead) and women writers \nwho came to prominence during the 1980s (like Helen Garner, Kate Grenville, \nElizabeth Jolley, Barbara Hanrahan, Jessica Anderson and Beverley Farmer ... The second-wave feminist movement was responsible for the creation of this \ndual canon: in the first case, due to a desire to recover and reclaim women \nwriters of the past, and in the second, due to a desire to celebrate and explore \ncontemporary Australian women's fiction. Indeed, it is the preoccupation of \nsecond-wave feminism with uncovering and celebrating women's occluded \nstories that underlies the current critical focus on realist and experiential aspects \nof Australian women's fiction ... Among those whose work has been occluded by the critical attention given to the canonical figures of Australian women's writing, Wendy Scarfe is indicative \nin various ways

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