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Ambition: body paragraph1 question/20

Question 1

20 marks

How does your prescribed text show the cost of ambition? Refer closely to the text.

Activity Type

Introduction

Body Paragraph

Full Response

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Marked against the SCSA rubric

Marked for authorial intent, with every comment tied to the rubric. Every mark yours to change.

Section Two: RespondingYear 12 English

Student 14Approve

Instructions

40 marks

How can a studied multimodal text be read differently depending on when and where it is received?

Response

Humanity has long feared its destructions at the hands of our own creations, that our greatest enemy will reveal themselves to be us all along. Ray Bradbury's haunting short story 'There Will Come Soft Rains' imagines a world where that fear becomes reality, picturing a single house left in a barren wasteland devoid of life, until a fire destroys it. Written in 1953, the context surrounding 'There Will Come Soft Rains' is shaped by the cold war, the aftermath of WW2, and the rapidly developing technologies. In such an uncertain world, the text serves as a warning of the dangers of technology, its uncaring nature, and its inability to match nature. Shaped by all the events around it, 'There Will Come Soft Rains' is also a pessimistic view on the future, and how fragile our lives and our civilisations are. Written at the heights of the Cold War, the text warns us of technology's uncaring nature, and how we shouldn't trust it easily. In the text, the house is the central character, its inhabitants have long deceased, yet it is unaware. It continues on its routines in mechanical persistence, pathetically waiting for someone to answer. "The voice clock sang 'Tick Tock! Seven O'Clock! as if it was afraid no-one would hear" is a perfect demonstration; Here, the house is personified, but as an ironic jab. We know The house cannot feel, so words like 'Sorry' and 'Afraid' mean nothing more than a taunt towards the house, that it cannot truly feel. Given that the Cold War saw rapid development of weapons of mass destruction such as nuclear bomb, the critique of technology's lack of emotion takes on a whole new twisted meaning. If technology does not care about us, then shouldn't we be more cautious of developing technology that could kill us all? The idea of placing our fate in the hands of something that doesn't care about us is absurd, and 'There Will Come Soft Rains' serves as a chilling reminder of that. Technology's lack of emotion is further exposed in the line "'A voice with sublime disregard for the situation read poetry aloud in the fiery study'". Once again, the house is made to be extremely ironic here, if it can not recognize its own dangers, how could it ever recognise, let alone save us from our dangers. In today's context of AI, technology that appears to care about us, I reflect on 'There Will Come Soft Rains', and its warnings. In today's context, 'There Will Come Soft Rains'' critique on technology's lack of emotion is more meaningful than ever before, and leads me to be more critical and pessimistic towards modern technology. WW2 was and remains one of the worst atrocities committed by humans, and it brutally exposed the. how fragile the strings that hold our civilizations together were, and just how easily our lives could be taken from us in the face of unimaginable powers. In the text, this fear is realised, with a barren wasteland of a setting, shown through uneasy imagery, such as "Stood alone in a city of rubble and ashes. this was the last house left standing". This imagery plays on the fears of nuclear annihilation, which was something not realised until the bombs were dropped on Japan. Suddenly, what was once wild speculation has quickly turned into a prediction that looks eerily accurate, transforming the meaning of the text. The most eerie imagery though, is the line "Five spots of paint - The man, the woman, the children, the ball - remained" when describing the remains of the inhabitants. This is a direct allusion to "The Human Shadow Etched In Stone" in Japan, which was an atomic shadow left by a Japanese citizen who was vaporized by the bombs. This chilling imagery directly links the events in the story to real life events, making the rest of the story even more plausible. In the backdrop of nuclear destruction, the text's meaning is transformed from a speculative piece to a horrifying depiction of a future that looks unsettlingly likely to happen.

--/40

AI grade:

General

Add feedback...

Engagement with Syllabus Demands

-/10

Sustained, genuine reflection across all three contextual lenses.

Argument & Critical Vocabulary

-/10

Precise metalanguage throughout - ironic personification, allusion, imagery.

Use of Evidence & Supporting Analysis

-/10

You quote well but sometimes paraphrase rather than unpack diction.

Essay Structure

-/5

Three distinct contextual lenses, each with a clear paragraph focus.

Expression

-/5

Strong voice overall, but BP2 has a broken sentence that disrupts flow.

Rubric

Criteria description	0	1-2	3-4	5-6	7-8	9-10
Engagement with Syllabus Demands within the Question	Very limited or no engagement with the question and syllabus concepts	Limited engagement with the question and syllabus concepts	Some engagement with some aspects of the question and syllabus concepts	Clear engagement with most aspects of the question and syllabus concepts	Sustained engagement with all aspects of the question and syllabus concepts	Comprehensive, sustained and detailed engagement with all aspects of the question and syllabus concepts

Argument & Critical Vocabulary

Very limited argument employing no formality, metalanguage and critical vocabulary

Limited argument lacking formal tone, irrelevant or limited use of metalanguage and critical vocabulary

Inconsistent argument with limited formal tone, metalanguage and critical vocabulary

Clear argument employing a mostly formal tone with some metalanguage and critical vocabulary

Logical argument employing a formal tone, relevant metalanguage and critical vocabulary

Sophisticated argument employing a formal tone, consistent and appropriate metalanguage and critical vocabulary

Use of Evidence & Supporting Analysis

No use of evidence with little to no supporting analysis

Limited use of evidence with little supporting analysis

Occasional use of evidence with some supporting analysis and interpretation

Appropriate use of evidence with some supporting analysis and interpretation

Consistent and logical use of evidence with detailed supporting analysis and interpretation

Comprehensive and critical use of evidence with sophisticated and insightful supporting analysis and interpretation

	0	1-2	3-4	5
Essay Structure	Very limited or no control of essay structure	Constructs an unclear, incomplete or disorganised essay with limited or inappropriate comparison	Constructs an organised and logical essay with mostly consistent and relevant comparison	Constructs a coherent and well-sequenced essay with fluent and consistent comparison

	0-1	2	3	4	5
Expression	Limited control of written expression that impairs communication of ideas	Unclear or simplistic written expression	General control of written expression	Control of written expression	Complete and effective control of written expression

Overall Grade

−

36/40

Edexia 36/40

Complete

DifferentiationYear 12 Mathematics Advanced

Student 14Approve

Instructions

Question 3 · 4 marks

Find the stationary points of f(x) = x³ − 6x² + 9x + 1 and determine their nature.

Response

f′(x) = 3x² − 12x + 9

3x² − 12x + 9 = 0 ⇒ 3(x − 1)(x − 3) = 0

x = 1 or x = 31 mark

f(1) = 5, f(3) = 11 mark

f″(x) = 6x − 12, f″(1) = −6 < 0 ∴ (1, 5) is a maximum

and (3, 1) is a minimum2 marks

Show the test for (3, 1) as well: f″(3) = 6 > 0.

--/4

AI grade:

Rubric

Finds f′(x) and solves f′(x) = 01
Finds both stationary points1
Determines the nature of each point with a test2

Review, then release

Add voice notes, edit and add feedback, and release to the class once you're happy.

Section Two: RespondingYear 12 English

Student 14

Approve

Instructions

40 marks

How can a studied multimodal text be read differently depending on when and where it is received?

Response

Written at the heights of the Cold War, the text warns us of technology's uncaring nature, and how we shouldn't trust it easily. In the text, the house is the central character, its inhabitants have long deceased, yet it is unaware. It continues on its routines in mechanical persistence, pathetically waiting for someone to answer. "The voice clock sang 'Tick Tock! Seven O'Clock! as if it was afraid no-one would hear" is a perfect demonstration; Here, the house is personified, but as an ironic jab. We know The house cannot feel, so words like 'Sorry' and 'Afraid' mean nothing more than a taunt towards the house, that it cannot truly feel. Given that the Cold War saw rapid development of weapons of mass destruction such as nuclear bomb, the critique of technology's lack of emotion takes on a whole new twisted meaning. If technology does not care about us, then shouldn't we be more cautious of developing technology that could kill us all? The idea of placing our fate in the hands of something that doesn't care about us is absurd, and 'There Will Come Soft Rains' serves as a chilling reminder of that. Technology's lack of emotion is further exposed in the line "'A voice with sublime disregard for the situation read poetry aloud in the fiery study'". Once again, the house is made to be extremely ironic here, if it can not recognize its own dangers, how could it ever recognise, let alone save us from our dangers. In today's context of AI, technology that appears to care about us, I reflect on 'There Will Come Soft Rains', and its warnings. In today's context, 'There Will Come Soft Rains'' critique on technology's lack of emotion is more meaningful than ever before, and leads me to be more critical and pessimistic towards modern technology.

WW2 was and remains one of the worst atrocities committed by humans, and it brutally exposed the. how fragile the strings that hold our civilizations together were, and just how easily our lives could be taken from us in the face of unimaginable powers. In the text, this fear is realised, with a barren wasteland of a setting, shown through uneasy imagery, such as "Stood alone in a city of rubble and ashes. this was the last house left standing". This imagery plays on the fears of nuclear annihilation, which was something not realised until the bombs were dropped on Japan. Suddenly, what was once wild speculation has quickly turned into a prediction that looks eerily accurate, transforming the meaning of the text. The most eerie imagery though, is the line "Five spots of paint - The man, the woman, the children, the ball - remained" when describing the remains of the inhabitants. This is a direct allusion to "The Human Shadow Etched In Stone" in Japan, which was an atomic shadow left by a Japanese citizen who was vaporized by the bombs. This chilling imagery directly links the events in the story to real life events, making the rest of the story even more plausible. In the backdrop of nuclear destruction, the text's meaning is transformed from a speculative piece to a horrifying depiction of a future that looks unsettlingly likely to happen.

36/40

AI grade: 36

General

Add feedback...

Engagement with Syllabus Demands

9/10

Sustained, genuine reflection across all three contextual lenses.

Argument & Critical Vocabulary

9/10

Precise metalanguage throughout - ironic personification, allusion, imagery.

Use of Evidence & Supporting Analysis

8/10

You quote well but sometimes paraphrase rather than unpack diction.

Section Two: Responding

Year 12 English · 8 submissions

Edit Duplicate Release All (8)

Student	Submitted	Grade	Status
Oliver Marsh	Mon 9:12am	34/40	Approved
Ethan Brooks	Mon 9:40am	28/40	Approved
Sam Wright	Mon 10:03am	36/40	Needs Review
Lena Kovac	Mon 11:20am	24/40	Approved
Zara Hassan	Mon 1:15pm	32/40	Approved
Grace Lin	Mon 2:48pm	30/40	Needs Review
Priya Sharma	Tue 8:30am	38/40	Approved
Noah Patel	Tue 9:05am	26/40	Approved

Blind grading

Give your own unbiased mark first. Only then see what your colleagues and Edexia gave.

Common Module assessmentYear 12 English

Student 471

Instructions

20 marks

Explain how the composer represents the tension between individual freedom and collective control. Refer closely to the text.

Response

Orwell positions Winston's private diary as the first act of resistance, yet the novel never lets that freedom stand alone. Each entry is written in the knowledge that it will be found, so the act of writing becomes both defiance and surrender.

The Party's control is most visible in language. Newspeak narrows what can be thought by narrowing what can be said, and Syme's enthusiasm for the destruction of words shows that collective control is sustained by willing participants rather than force alone.

By the final chapter the tension is resolved in the Party's favour. The closing line, that Winston loved Big Brother, reframes every earlier moment of rebellion as a stage in his re-education.

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Benchmarking

Compare every marker side by side, and let the head of department settle the final mark.

Common Module assessmentYear 12 English

Student 471

Instructions

20 marks

Explain how the composer represents the tension between individual freedom and collective control. Refer closely to the text.

Response

By the final chapter the tension is resolved in the Party's favour. The closing line, that Winston loved Big Brother, reframes every earlier moment of rebellion as a stage in his re-education.

GroupNone

Due Fri 16 Oct, 3:30pm Release

OverviewQ1Q2Q3

StudentSearch students	Teacher 2	Teacher 3	You	Edexia	Final	Spread
Student 471	13/20	14/20	14/20	15/20	14/20	2
Student 128	11/20	12/20	11/20	11/20	11/20	1
Student 305	14/20	9/20	15/20	15/20	13/20	6
Student 219	17/20	16/20	17/20	18/20	17/20	2
Student 064	8/20	11/20	9/20	9/20	9/20	3
Student 092	15/20	15/20	16/20	16/20	16/20	1

Common Module assessmentYear 12 English

Student 305

Approve question

Instructions

20 marks

Explain how the composer represents the tension between individual freedom and collective control. Refer closely to the text.

Response

The novel suggests that freedom begins in memory. Winston's attempts to recall the past before the Revolution are fragmentary, and the Party's rewriting of records means that individual memory has nothing to hold on to.

Julia offers a different model of resistance, one grounded in pleasure rather than ideas. Her rebellion is real but limited, and Orwell uses the contrast to show that private freedoms can coexist with total public control.

Room 101 removes the last private space. When Winston betrays Julia, the Party has proven that even loyalty to another person can be turned into an instrument of the collective.

Every set text, supported

English2026–2030Show all 76 texts

Fiction

The Thing Around your Neck, Chimamanda Ngozi Adichie
Interpreter of Maladies: Stories, Jhumpa Lahiri
Going Home, Archie Weller
Turning Point, Tim Winton
The Adventures of Asterix, René Goscinny and Albert Uderzo
Calvin and Hobbes, Bill Waterson
Children of Men (2006), Alfonso Cuarón
Extremely Loud and Incredibly Close (2011), Stephen Daldry
Ten Canoes (2006), Rolf De Heer and Peter Djigirr
Gran Torino (2008), Clint Eastwood
The Great Gatsby (2013), Baz Luhrmann
Howl's Moving Castle (2004), Hayao Miyazaki
The Book Thief (2013), Brian Percival
Samson and Delilah (2009), Warwick Thornton
Citizen Kane (1941), Orson Welles
Mary Shelley's Frankenstein, Zdenko Basic and Manuel Sumberac
Extremely Loud and Incredibly Close, Johnathon Saffran Foer
V for Vendetta, A Moore and V Lloyd
Maus, Art Spiegelman
American Born Chinese, Gene Luen Yang
Things Fall Apart, Chinua Achebe
The Great Gatsby, F Scott Fitzgerald
The Secret River, Kate Grenville
A Brave New World, Aldous Huxley
The Road, Cormac McCarthy
1984, George Orwell
The Broken Shore, Peter Temple
Swallow the Air, Tara June Winch
The Book Thief, Marcus Zusak
My Hiroshima, Junko Morimoto
The Rabbits, Shaun Tan
No Sugar, Jack Davis
Summer of the Seventeenth Doll, Ray Lawler
The Shoe-Horn Sonata, John Misto
Cosi, Louis Nowra
Othello, William Shakespeare
A Streetcar Named Desire, Tennessee Williams
Influence, David Williamson
Mad Men, Matthew Weiner
Elementary, Robert Doherty
The Twilight Zone, Simon Kinberg, Jordan Peele and Marco Ramirez

Poetry/Poets

Antipodes: Poetic Responses, Margaret Bradstock (ed.)
Windchimes: Asia in Australia Poetry, Noel Rowe and Vivian Smith (eds.)
Poetry of Bruce Dawe, Bruce Dawe
Poetry of Gwen Harwood, Gwen Harwood
Poetry of Romaine Moreton, Romaine Moreton
Poetry of Oodgeroo Noonuccal, Oodgeroo Noonuccal
Poetry of Wilfred Owen, Wilfred Owen
Poetry of Sylvia Plath, Sylvia Plath
Poetry of Christina Rossetti, Christina Rossetti
Poetry of William Wordsworth, William Wordsworth
Poetry of Judith Wright, Judith Wright
Peripheral Light: Selected and new poems, John Kinsella
AustLit, The University of Queensland
Australian Poetry Library, The University of Sydney

Non-fiction

Infidel, Ayaan Hirsi Ali
Escape from Camp 14, Blaine Harden
20,000 Days on Earth (2014), Iain Forsyth and Jane Pollard
An Inconvenient Truth (2006), Davis Guggenheim
Blackfish (2013), Gabriela Cowperthwaite
The Cove (2009), Louie Psihoyos
Utopia (2013), John Pilger
Waiting for Superman (2010), Davis Guggenheim
Dear America - Letters Home From Vietnam (1987), Bill Couturié
First Australians, Rachel Perkins
Speeches that Changed the World, Simon Sebag Montefiore
The Best Australian Essays 2013, Robert Manne (ed.)
The Shark Net, Robert Drewe
We Are the Weather Makers, Tim Flannery
Once Upon a Time in Cabramatta, Bernadette Lim
Australian War Memorial website, Australian War Memorial
Computer games in the classroom – teacher resource, KQED MindShift

Everyday texts

The Oatmeal, Matthew Inman
Thought Provoking Blogs, Kristin Kaufman
Big Think, Freethink Media
TED, TED Conferences

Literature2026–2030Show all 350 texts

Poetry

Poetry of Robert Adamson, Robert Adamson
Poetry of Maya Angelou, Maya Angelou
Poetry of Simon Armitage, Simon Armitage
Poetry of Elizabeth Bishop, Elizabeth Bishop
Poetry of William Blake, William Blake
Poetry of Lily Brett, Lily Brett
Poetry of David Campbell, David Campbell
Poetry of Leonard Cohen, Leonard Cohen
Poetry of Samuel Taylor Coleridge, Samuel Taylor Coleridge
Poetry of Billy Collins, Billy Collins
Poetry of E.E. Cummings, E.E. Cummings
Poetry of Bruce Dawe, Bruce Dawe
Poetry of Emily Dickinson, Emily Dickinson
Poetry of Rosemary Dobson, Rosemary Dobson
Poetry of John Donne, John Donne
Poetry of Lucy Dougan, Lucy Dougan
Poetry of Michael Dransfield, Michael Dransfield
Poetry of Carol Ann Duffy, Carol Ann Duffy
Poetry of Bob Dylan, Bob Dylan
Poetry of T.S. Eliot, T.S. Eliot
Poetry of Robert Frost, Robert Frost
Poetry of Robert Gray, Robert Gray
Poetry of Peter Goldsworthy, Peter Goldsworthy
Poetry of Thomas Hardy, Thomas Hardy
Poetry of Gwen Harwood, Gwen Harwood
Poetry of Seamus Heaney, Seamus Heaney
Poetry of Zbigniew Herbert, Zbigniew Herbert
Poetry of Dorothy Hewett, Dorothy Hewett
Poetry of Ted Hughes, Ted Hughes
Poetry of John Keats, John Keats
Poetry of John Kinsella, John Kinsella
Poetry of Philip Larkin, Philip Larkin
Poetry of James McAuley, James McAuley
Poetry of John Milton, John Milton
Poetry of Romaine Moreton, Romaine Moreton
Poetry of Les Murray, Les Murray
Poetry of Pablo Neruda, Pablo Neruda
Poetry of Oodgeroo Noonuccal, Oodgeroo Noonuccal
Poetry of Mary Oliver, Mary Oliver
Poetry of Sylvia Plath, Sylvia Plath
Poetry of Adrienne Rich, Adrienne Rich
Poetry of William Shakespeare, William Shakespeare
Poetry of Kenneth Slessor, Kenneth Slessor
Poetry of Stevie Smith, Stevie Smith
Poetry of Wole Soyinka, Wole Soyinka
Poetry of Dylan Thomas, Dylan Thomas
Poetry of J. Tranter, J. Tranter
Poetry of Samuel Wagan Watson, Samuel Wagan Watson
Poetry of Derek Walcott, Derek Walcott
Poetry of Francis Webb, Francis Webb
Poetry of Walt Whitman, Walt Whitman
Poetry of William Wordsworth, William Wordsworth
Poetry of Judith Wright, Judith Wright
Poetry of W. B. Yeats, W. B. Yeats
Poetry of Ouyang Yu, Ouyang Yu

Drama

Disgraced, Ayad Akhtar
Waiting for Godot, Samuel Beckett
The Shifting Heart, Richard Beynon
The Secret River, Andrew Bovell
Things I Know to be True, Andrew Bovell
When the Rain Stops Falling, Andrew Bovell
Anthem, Andrew Bovell, Patricia Cornelius, Melissa Reeves and Christos Tsiolkas
The Caucasian Chalk Circle, Bertolt Brecht
The Good Person of Szechwan, Bertolt Brecht
Everyman and Medieval Miracle Plays, A.C. Cawley (Ed.)
The Cherry Orchard, Anton Chekhov
Three Sisters, Anton Chekhov
Bran Nue Dae, Jimmy Chi
Top Girls, Caryl Churchill
The Summoning of Everyman, G. Cooper and C. Wortham (Eds.)
The Return, Reg Cribb
No Sugar, Jack Davis
Kullark/The Dreamers, Jack Davis
The 7 Stages of Grieving, Wesley Enoch and Deborah Mailman
Blackrock, Nick Enright
Cloudstreet, Nick Enright and Justin Monjo
Medea, Euripides
Translations, Brian Friel
Boy Gets Girl, Rebecca Gilman
Away, Michael Gow
The Torrents, Oriel Gray
M. Butterfly, David Henry Hwang
A Doll's House, Henrik Ibsen
Hedda Gabler, Henrik Ibsen
Ghosts, Henrik Ibsen
The Wild Duck, Henrik Ibsen
The Laramie Project, Moisés Kaufman
Chimerica, Lucy Kirkwood
Summer of the Seventeenth Doll [Anthology title: The Doll Trilogy], Ray Lawler
Oleanna, David Mamet
Glengarry Glen Ross, David Mamet
Doctor Faustus, Christopher Marlowe
The Crucible, Arthur Miller
Death of a Salesman, Arthur Miller
A View from the Bridge, Arthur Miller
Prima Facie, Suzie Miller
Windmill Baby [Anthology title: Contemporary Indigenous Plays, Vivienne Cleven et al.], David Milroy
Waltzing the Wilarra, David Milroy
Mary Stuart, Kate Mulvaney
Honour, Joanna Murray-Smith
The Female of the Species, Joanna Murray-Smith
Sweat, Lynn Nottage
Inside the Island, Louis Nowra
Cosi, Louis Nowra
The Merry-Go-Round in the Sea, Dickon Oxenburgh and Andrew Ross
The Drover's Wife, Leah Purcell
Box the Pony, Scott Rankin and Leah Purcell
Hotel Sorrento, Hannie Rayson
Amadeus, Peter Shaffer
Equus, Peter Shaffer
Antony and Cleopatra, William Shakespeare
As You Like It, William Shakespeare
Hamlet, William Shakespeare
Henry IV Pt 1, William Shakespeare
Julius Caesar, William Shakespeare
King Lear, William Shakespeare
Macbeth, William Shakespeare
Othello, William Shakespeare
Richard III, William Shakespeare
The Merchant of Venice, William Shakespeare
The Tempest, William Shakespeare
The Winter's Tale, William Shakespeare
Twelfth Night, William Shakespeare
Counting and Cracking, S. Shakthidharan
Pygmalion, George Bernard Shaw
Antigone, Sophocles
Oedipus Rex, Sophocles
Oedipus at Colonus, Sophocles
Death and the King's Horseman, Wole Soyinka
Rosencrantz and Guildenstern are Dead, Tom Stoppard
Arcadia, Tom Stoppard
The Appleton Ladies' Potato Race, Melanie Tait
Under Milkwood, Dylan Thomas
Diving for Pearls, Katherine Thomson
ear for eye, Debbie Tucker Green
Milk, Dylan Van Der Berg
The Importance of Being Earnest, Oscar Wilde
An Ideal Husband, Oscar Wilde
The Glass Menagerie, Tennessee Williams
Cat on a Hot Tin Roof, Tennessee Williams
A Streetcar Named Desire, Tennessee Williams
Dead White Males, David Williamson
Don's Party, David Williamson
The Perfectionist, David Williamson
The Removalists, David Williamson
Black Diggers, Tom Wright
Picnic at Hanging Rock, Tom Wright
City of Gold, Meyne Wyatt

Prose fiction

Things Fall Apart, Chinua Achebe
White Tiger, Aravind Adiga
Brick Lane, Monica Ali
Eva Luna, Isabelle Allende
The House of Spirits, Isabelle Allende
Of Love and Shadows, Isabelle Allende
The Bridge on the Drina, Ivo Andrić
I Know Why the Caged Bird Sings, Maya Angelou
A Kindness Cup, Thea Astley
Drylands, Thea Astley
It's Raining in Mango, Thea Astley
Oryx and Crake, Margaret Atwood
Surfacing, Margaret Atwood
Cat's Eye, Margaret Atwood
The Blind Assassin, Margaret Atwood
The Penelopiad, Margaret Atwood
The Handmaid's Tale, Margaret Atwood
Northanger Abbey, Jane Austen
Pride and Prejudice, Jane Austen
Persuasion, Jane Austen
The Lost Honour of Katharina Blum, Heinrich Böll
Striped Holes, Damien Broderick
Jane Eyre, Charlotte Brontë
Wuthering Heights, Emily Brontë
The Outsider, Albert Camus
The Plague, Albert Camus
Bliss, Peter Carey
The True History of the Kelly Gang, Peter Carey
Illywhacker, Peter Carey
Oscar and Lucinda, Peter Carey
On the Black Hill, Bruce Chatwin
Girl with a Pearl Earring, Tracy Chevalier
The Awakening and Other Stories, Kate Chopin
Disgrace, J.M. Coetzee
Waiting for the Barbarians, J.M. Coetzee
Heart of Darkness, Joseph Conrad
The Longest Memory, Fred D'Aguiar
Reading in the Dark, Seamus Deane
The Inheritance of Loss, Kiran Desai
The Pickwick Papers, Charles Dickens
Oliver Twist, Charles Dickens
Nicholas Nickleby, Charles Dickens
The Old Curiosity Shop, Charles Dickens
Barnaby Rudge, Charles Dickens
Martin Chuzzlewit, Charles Dickens
Dombey and Son, Charles Dickens
David Copperfield, Charles Dickens
Bleak House, Charles Dickens
Hard Times, Charles Dickens
Little Dorrit, Charles Dickens
A Tale of Two Cities, Charles Dickens
Great Expectations, Charles Dickens
Our Mutual Friend, Charles Dickens
The Mystery of Edwin Drood, Charles Dickens
A Christmas Carol, Charles Dickens
The Drowner, Robert Drewe
Second Class Citizen, Buchi Emecheta
As I Lay Dying, William Faulkner
The Great Gatsby, F.S. Fitzgerald
The Sound of One Hand Clapping, Richard Flanagan
Everything Is Illuminated, Jonathan Safran Foer
Extremely Loud & Incredibly Close, Jonathan Safran Foer
A Passage to India, E.M. Forster
The French Lieutenant's Woman, John Fowles
My Brilliant Career, Miles Franklin
Tsotsi, Athol Fugard
One Hundred Years of Solitude, Gabriel Garcia Marquez
Old Filth, Jane Gardam
Monkey Grip, Helen Garner
The Paperbark Shoe, Goldie Goldbloom
The Inheritors, William Golding
Maestro, Peter Goldsworthy
Joan Makes History, Kate Grenville
The Secret River, Kate Grenville
The Mayor of Casterbridge, Thomas Hardy
The Scarlet Letter, Nathaniel Hawthorne
A Farewell to Arms, Ernest Hemingway
Fiesta, Ernest Hemingway
Poor Fellow, My Country, Xavier Herbert
Siddhartha, Hermann Hesse
The Glass Bead Game, Hermann Hesse
The Prodigy, Hermann Hesse
Sunlight on a Broken Column, Attia Hosain
Brave New World, Aldous Huxley
The Well, Elizabeth Jolley
Miss Peabody's Inheritance, Elizabeth Jolley
Sixty Lights, Gail Jones
Dreams of Speaking, Gail Jones
Sorry, Gail Jones
Mr Pip, Lloyd Jones
Metamorphosis [Anthology title: Metamorphosis and Other Stories], Franz Kafka
Bring Larks and Heroes, Thomas Keneally
Towards Asmara, Thomas Keneally
The Chant of Jimmie Blacksmith, Thomas Keneally
The Poisonwood Bible, Barbara Kingsolver
The Woman Warrior: Memoirs of a Girlhood Among Ghosts, Maxine Hong Kingston
English Passengers, Matthew Kneale
Sons and Lovers, D.H. Lawrence
The Australian Fiancé, Simone Lazaroo
The Left Hand of Darkness, Ursula Le Guin
Small Island, Andrea Levy
The Wife of Martin Guerre, Janet Lewis
Fly Away Peter, David Malouf
An Imaginary Life, David Malouf
Ransom, David Malouf
Remembering Babylon, David Malouf
The Life of Pi, Yan Martel
The Child in Time, Ian McEwan
Saturday, Ian McEwan
Atonement, Ian McEwan
The White Earth, Andrew McGahan
Amongst Women, John McGahern
Black Swan Green, David Mitchell
The Orchard, Drusilla Modjeska
Beloved, Toni Morrison
The English Patient, Michael Ondaatje
Nineteen Eighty-Four, George Orwell
Bel Canto, Anne Patchett
The Chosen, Chaim Potok
Coonardoo, Katharine Susannah Prichard
Northern Lights, Philip Pullman
The Fountainhead, Ayn Rand
Wide Sargasso Sea, Jean Rhys
The God of Small Things, Arundhati Roy
Midnight's Children, Salman Rushdie
The Reader, Bernard Schlink
True Country, Kim Scott
Benang, Kim Scott
That Deadman Dance, Kim Scott
Other Country, Stephen Scourfield
Frankenstein, Mary Shelley
One Day in the Life of Ivan Denisovich, Alexander Solzhenitsyn
The Man Who Loved Children, Christina Stead
For Love Alone, Christina Stead
The Grapes of Wrath, John Steinbeck
Tortilla Flat, John Steinbeck
Cannery Row, John Steinbeck
Dr Jekyll and Mr Hyde, Robert Louis Stevenson
The Merry-Go-Round in the Sea, Randolph Stow
To the Islands, Randolph Stow
Gulliver's Travels, Jonathan Swift
The Blackwater Lightship, Colm Toibin
The Heather Blazing, Colm Toibin
Anna Karenina, Leo Tolstoy
Charades, Janet Turner Hospital
The Island of Doctor Moreau, H.G. Wells
The Age of Innocence, Edith Wharton
Birdy, William Wharton
A Fringe of Leaves, Patrick White
The Picture of Dorian Gray, Oscar Wilde
Breath, Tim Winton
An Open Swimmer, Tim Winton
Cloudstreet, Tim Winton
The Riders, Tim Winton
Dirt Music, Tim Winton
The Submerged Cathedral, Charlotte Wood
To the Lighthouse, Virginia Woolf
Jacob's Room, Virginia Woolf
Leaning Towards Infinity, Sue Woolfe
The Book Thief, Marcus Zusak
The Hottest Night of the Century, Glenda Adams
The Thing Around Your Neck, Chimamanda Ngozi Adichie
The Drover's Wife and Other Stories, Murray Bail
Short stories of Marjorie Barnard, Marjorie Barnard
Collected Short Stories, Barbara Baynton
Short stories of Tony Birch, Tony Birch
Short stories of Ray Bradbury, Ray Bradbury
Collected Stories, Peter Carey
Short stories of Angela Carter, Angela Carter
Inherited, Amanda Curtin
Short stories of Roald Dahl, Roald Dahl
Short stories of Guy de Maupassant, Guy de Maupassant
The Daylight and The Dust, Janet Frame
Short stories of Kelly Gardiner, Kelly Gardiner
My Hard Heart: Selected Fiction, Helen Garner
Short stories of Charlotte Perkins Gilman, Charlotte Perkins Gilman
Short stories of Susan Glaspell, Susan Glaspell
Jump and Other Stories, Nadine Gordimer
Short stories of Susan Hawthorne, Susan Hawthorne
Short stories of Shirley Jackson, Shirley Jackson
Five Acre Virgin and Other Stories, Elizabeth Jolley
Dubliners, James Joyce
Interpreter of Maladies, Jhumpa Lahiri
Short stories of Henry Lawson, Henry Lawson
The Boat, Nam Le
Stories, Doris Lessing
The New Dark Age, Joan London
Short stories of Katherine Mansfield, Katherine Mansfield
A History of the Bean Bag, Susan Midalia
Tales from Firozsha Baag, Rohinton Mistry
Miguel Street, V.S. Naipaul
High Lonesome: Selected Stories, Joyce Carol Oates
Short stories of Edgar Allan Poe, Edgar Allan Poe
Tribute: Selected Stories of Katharine Susannah Prichard, Katharine Susannah Pritchard
Short stories of Alice Pung, Alice Pung
Collected Stories, Janette Turner Hospital
Heat and Light, Ellen Van Neerven
Going Home, Archie Weller
Short stories of Michael Wilding, Michael Wilding
Short stories of Tara June Winch, Tara June Winch
Minimum of Two, Tim Winton
The Turning, Tim Winton

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