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- ‘The Craft So Long to Learn’: Ruth Park’s Story of Ruth ParkEssay1 May 1996
- Transgressing Language?: The Poetry of Ania WalwiczEssay1 May 1996
- The Ethics of Abjection: Patrick White’s *Riders in the Chariot*Essay1 October 1997
- Colonial History and Post-Colonial Fiction : The Writing of Thea AstleyEssay1 May 1999
- Wishing for Modernity: Temporality and Desire in *Gould’s Book of Fish*Essay1 May 2003
- About Face: Asian-Australians at HomeEssay1 May 2002
- Remember Love and Struggle? Reading Jean Devanny’s *Sugar Heaven* in Contemporary Australian ContextsEssay1 May 2004
- Brereton, the *Bulletin*, and A.G. StephensEssay1 June 1963
- Ambivalence, Absence and Loss in David Malouf’s *Remembering Babylon*Essay1 June 2009
- The Eco-Humanities as Literature: A New Genre?Essay1 October 2008
- Adapting Australian Novels for the Stage: La Boite Theatre’s Version of *Last Drinks*, *Perfect Skin*, and *Johnno*Essay1 October 2008
- Counter-PoeticsEssay1 June 2011
- ‘Alone and in close company’: Reading and Companionship in Brenda Walker’s *Reading by Moonlight*Essay1 May 2012
- A Dog with a Broken Back: Animals as Rhetoric and Reality in the Fiction of J. M. CoetzeeEssay1 June 2010
- Rediscoverd Lawson Sketch of 1863 ‘Selection Farms’Essay1 October 2012
- Resisting Productionist Timescapes by Making Better Futures in the Present: Care for Country in Western Sydney LiteraturesEssay25 May 2024
- The Drama of the Separate Self in Rae Desmond Jones’ The Mad VibeEssay1 October 1979
- The Communion of Clouds: Becoming-Woman in Coetzee’s *Waiting for the Barbarians*Essay25 February 2018
- A Reply to W.H. PearsonEssay1 May 1969
- The Sources of *His Natural Life*Essay1 October 1969