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- On Not Having Sex: Sumner Locke Elliott and Queer HistoryEssay19 December 2019
- Bridging Distances: Ruth Park’s *A Power of Roses* (1953)Essay3 October 2024
- Interview with Thomas Keneally, Manly, 27 June 2012Essay30 May 2015
- Xavier Herbert: A ChecklistEssay1 October 1978
- ‘The Only Russian in Sydney’: Modernism and Realism in *The Watch Tower*Essay1 May 1992
- ‘Hearts of Gold and a Happy Ending’: The Appeal of *The Harp in the South*Essay1 May 1990
- Introduction: Writing Disability in AustraliaEssay23 May 2022
- Capricornia : Seasonal, Diurnal and Colour PatternsEssay1 October 1979
- The Making of Thomas KeneallyEssay30 May 2015
- Biography and Fiction : George Johnston’s Meredith Trilogy and Garry Kinane’s BiographyEssay1 May 1988
- A Fiction of Sisters: Christina Stead’s *Letty Fox* and *For Love Alone*Essay1 May 1989
- Narrative Perspective and Cultural History in *Robbery Under Arms*Essay1 May 1973
- Lesbia Harford’s Homefront Warrior and Women’s World War I WritingEssay1 May 1995
- Terra Australis: Landscape as Medium in *Capricornia* and *Poor Fellow My Country*Essay1 May 1995
- The Fiction of Gabrielle LordEssay1 October 1999
- Forgotten Books and Local Readers: Popular Fiction in the Library at the Turn of the Twentieth CenturyEssay1 October 2014
- Beyond Capricornia: Ambiguous Promise in Alexis WrightEssay1 May 2009
- Patrick White’s Studies for *Voss*Essay30 September 2022
- Recentring Water: Thinking with the Chain of PondsEssay25 May 2024
- ‘War’s just one black foulness’: Jack Lindsay’s *The Blood Vote* and the Orthodoxies of AnzacEssay1 November 2015