Christina Stead

'I am not a born writer but ... I get the profoundest, most passionate satisfaction from writing' Christina Stead Letter writing was a vital part of Christina Stead's creative life and it grew increasingly important in her last decade. It was how she engaged with the outside world and became the focus of her writing energies. Stead was a vivacious, funny, erudite, expansive and witty correspondent. It was a practice she enjoyed, answering all correspondence she received, including Elizabeth Harrower, Stanley Burnshaw, Dorothy Green and H C Coombs. Beginning in England in 1973, the letters in Talking into the Typewriter span her return to Australia in 1973 until her death in 1983. Politics, friends and family, literary accolades and achievements, pets and reminiscences are all dissected, canvassed and considered.

One hot night last spring, after waiting fruitlessly for a call from my then lover, with whom I had quarrelled the same afternoon, and finding one of my black moods on me, I flung out of my lonely room on the ninth floor (unlucky number) in a hotel in lower Fifth Avenue and rushed into the streets of the Village, feeling bad. Letty Fox is hunting for a husband. Her picaresque adventures are brilliantly described in this imaginative portrayal of a woman who might have been independent, but chose otherwise.

'I am not a born writer, but I must say that when I have actually launched myself I get the profoundest and most passionate satisfaction from writing.'-Christina Stead A Web of Friendship is a collection of Christina Stead's intimate correspondence with influential literary figures such as Stanley Burnshaw, Ettore Rella, Nettie Palmer, Clem Christesen, Elizabeth Harrower and A.D. Hope. These letters span the life of one of Australia's most illustrious writers, offering a rare insight into the relationships that influenced and sustained her work. They reveal Stead's reflections on the art of literature, the development of her political thought, and the significance of a handful of friendships that would endure throughout her life and career. The letters cover Stead's arrival in England in 1928, as well as her time abroad in Europe and the United States. They also detail her marriage to William Blake, their life in England where they settled in 1953, as well as her brief return to Australia and her final years in England following Blake's death.

Originally published in 1934, Seven Poor Men of Sydney is Christina Stead's first novel, a brilliant portrayal of a group of men and women living in Sydney in the 1920s amid conditions of poverty and social turmoil.Set against the vividly drawn backgrounds of Fisherman's (Watson's) Bay and the innercity slums, the various characters seek to resolve their individual spiritual dilemmas through politics, religion and philosophy.Their struggles, their pain and their frustrations are portrayed with consummate skill in this memorable evocation of a city and an era.

One hot night last spring, after waiting fruitlessly for a call from my then lover, with whom I had quarreled the same afternoon, and finding one of my black moods on me, I flung out of my lonely room on the ninth floor (unlucky number) in a hotel in lower Fifth Avenue and rushed into the streets of the Village, feeling bad.Letty Fox: Her Luck, Christina Stead's sixth novel, was first published in New York in 1946, and banned in Australia for its salaciousness. Set in wartime Manhattan and told in Letty's own spiky and exuberant voice, the novel follows her successes and failures in the game of 'being somebody'. Letty's tireless pursuit of love and sex provides the setting for Stead's brilliant satire of marriage, desire and the conventions that surround them.

With an Introduction by Randall Jarrell. Sam and Henny Pollit have too many children, too little money, and too much loathing for each other. As Sam uses the children's adoration to feed his own voracious ego, Henny watches in bleak despair, knowing the bitter reality that lies just below his mad visions. A chilling novel of family life, the relations between parents and children, husbands and wives, "The Man Who Loved Children, "is acknowledged as a contemporary classic.

Surrounded by a family notable for its size, eccentricity and marital irregularities, Letty grows up with one aim - marriage. She learns that social survival depends on winning and keeping a man, and amidst the bustle of New York and London in the 30s and 40s, relentlessly pursues her aim.