This chapter examines the networks and institutions that fostered the production of explicitly ‘literary’ novels in Australia during the late twentieth century. It considers how economic changes to the publishing industry since 1980 affected the way that novels were produced and received. While literary novels were primarily produced by major trade publishers and university presses in the 1980s and early 1990s, they have increasingly been published by small presses. Literary novels arguably now have less influence within the larger literary field, but remain important within prestigious networks and institutions. The chapter then examines the careers of two authors – Gerald Murnane and David Malouf – who both began writing during the ‘conglomerate era’ and have continued to publish during the ‘age of Amazon’. While both authors have had national and international literary success, this success has relied on different institutions and networks. Malouf has had a broad success, in part because his works have been enthusiastically taken up in secondary and tertiary educational settings, whereas Murnane has relied on a more diffuse network of publishers and reviewers interested in experimental forms of writing.

This chapter considers Helen Garners fiction, assessing the evolution of her work from the scandalous diary-like immediacy of the Monkey Grip (1977) through to her minimalist masterpiece The Children’s Bach (1984). Throughout, it considers the house as a core spatial configuration that changes across Garner’s work.