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- ‘I Want a Mortgage and Comfort’: Consumption, Totality and Identity in Australian Gay FictionEssay18 December 2023
- Impossible Coincidences: Narrative Strategy in Brian Castro’s *Birds of Passage*Essay1 October 1990
- Boundary Crossing: The Novels of David FosterEssay1 May 1993
- ‘No light, no land or sea’: Urban alienation in Elizabeth Harrower’s *Down in the City*.Essay16 November 2016
- Words, Sticks and Stones: Keneally, Literature and Social ImpactEssay1 November 2013
- Shifting Timescapes and the Significance of the Mine in Alexis Wright’s *Carpentaria*Essay29 October 2020
- The Reflexive Carter Brown, or the Prescience of *Last Note for a Lovely*Essay28 October 2021
- Lawson, the *Bulletin* and the Short StoryEssay1 May 1983
- Interview with Hal PorterEssay1 May 1978
- Tales of Old Travel: Predecessors of David Malouf’s *The Conversations at Curlow Creek*Essay1 October 1997
- ‘A Talented Daughter of the Mallee’: Myra Morris Meets Regional ReadersEssay28 October 2021
- Authors, Editors, Publishers: Katharine Susannah Prichard and W. W. NortonEssay1 October 2006
- IntroductionEssay7 December 2016
- The Children’s Chorus: Sibling Soundscapes in *The Man Who Loved Children*Essay7 December 2016
- Research in Progress in Australian Literature [1971]Essay1 October 1971
- Authors’ Statements [Morris Lurie]Essay1 October 1981
- The Reconstruction of Self: Background and Design in George Johnston’s Meredith TrilogyEssay1 October 1984
- Review of *L'Universo Terra in 'Voss' di Patrick White* by Antonella Riem, and *The Labyrinths of the Self* by Antonella RiemReview1 October 1989
- The Use of Names and Colours in Randolph Stow’s *Tourmaline*Essay1 October 1990
- Helen Garner’s *Monkey Grip*: The Construction of an Author and Her WorkEssay1 October 1992